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The inception and development of the Reformation will be illustrated in Word and Image with over eighty artworks and objects, the majority of which are from museums in Germany which have never been seen before in North America.

For this spellbinding exhibition—the first exploration of his career at a New York museum—Gowin has combined favorites and rarities from five decades of work with objects drawn from throughout the collections of the Morgan.

The Book of Kings: Art, War, and the Morgan Library's Medieval Picture Bible used medieval works from the Morgan and The Walters Art Museum, Baltimore, to explore ways in which Christian, Muslim, and Jewish cultures used storytelling to define themselves and their values. The Picture Bible—one of the greatest illuminated manuscripts produced in thirteenth-century France—was disbound for conservation and study, offering visitors a once-in-a-lifetime opportunity to view twenty-six of the book's pages in a single exhibition.

On view were more than eighty sheets by French, British, Italian, Dutch, Flemish, and German draftsmen from the sixteenth through the early twentieth centuries.

Victorian Bestsellers explored the rise of this cultural phenomenon using original manuscripts, first editions, illustrated editions, and rare printed ephemera, drawn largely from the Morgan's renowned literary collections.

By the mid-eighteenth century, the Grand Tour, a study trip through Europe with a period of residence in Italy, had become a fixture in the education of European aristocrats and the training of artists.

American artist Spencer Finch (b. 1962) will unveil a new, site-specific, large-scale installation at the Morgan inspired by its great collection of medieval Books of Hours.

Views of Rome and Naples is the fifth exhibition in a series drawn from the collection of oil sketches acquired by Morgan Trustee Eugene V. Thaw and his wife, Clare. Mr. Thaw is also an honorary trustee of the Metropolitan Museum of Art.

Private Treasures provided the public the rare opportunity to view works from the sixteenth through the twentieth centuries drawn entirely from an esteemed private collection.

Featuring more than eighty works drawn almost exclusively from the Morgan's exceptional collection of Italian drawings, Rome After Raphael illuminates artistic production in Rome from the Renaissance to the beginning of the Baroque—from approximately 1500 to 1600.