The 90th Anniversary Episode

[00:00:00] Karena Ingram, host: Unless you’re enjoying this episode while you’re driving, I invite you to close your eyes and imagine this. It’s a bright and sunny day in Mount Vernon and you just stepped through the Centre Street entrance of the Walters Art Museum. You’re greeted by one of our Visitor Experience Associates who hands you a map.

With a nod and a smile, you continue through our lobby, passing the information desk staffed by our lovely volunteers, our Build Your Own Tour kiosk, and our contribution box. You notice a few retail associates working in the Museum Store and Cafe on your right, the tables filled with friendly faces enjoying sweet finds.

To your left is the first of many galleries you’ll encounter throughout your journey, branded with a large and beautifully designed title wall inviting you to enter. A gallery officer greets you, and as you take a moment to observe the architecture, you navigate through the cases and displays before you.

You walk, and you walk, until it catches your eyes. You’re standing in front of the first artwork that’s captivated your attention. You notice how it’s displayed, mounted, and lit for your viewing pleasure. Still and observant, you take in all of its details and begin to wonder, “What is it? Who made it? Where is it from?”

Conveniently, there’s a curator-crafted label beside the object that answers those very questions and opens you to a world of discovery and curiosity. You nod in content and continue on your journey to the next find. You’re excited to experience more.

Over the past 90 years, visitors have taken this exact journey, step by step. And each of those steps is made possible by the hard work of every single department and staff member of the Walters Art Museum. Stay tuned for more from our staff.

Welcome to Free Admissions, the Walters Art Museum podcast, where we bring art and people of every background together to inspire creativity, curiosity, and connection. I’m your host, Karena Ingram, and today, November 3rd, 2024, marks the 90th anniversary of the Walters Art Museum and the Walters third-annual Day of Giving.

We’ll take a stroll down memory lane and look at the Walters Art Museum’s history from past to present. Then we’ll hear from a few cherished voices about their favorite memories of the Walters. No tickets needed. Free admission starts now.

[00:02:10] Karena Ingram, host: Before we dive into 90 years at the Walters Art Museum, I’d like to take this opportunity to share our Land Acknowledgement. The Walters Art Museum acknowledges the Piscataway and Susquehannock Nations that originally inhabited this land. We also acknowledge tribal nations, most notably the Lumbee, who migrated here and Indigenous peoples whose ancestors are represented in the objects we steward in our collection.

Today, November 3rd, 2024, the Walters Art Museum reached a celebratory milestone: 90 years of operation as a public cultural institution in Baltimore. Since opening in 1934, the Walters has never wavered in its mission to bring art and people together for enjoyment, discovery, and learning. However, many things have changed as we’ve expanded our campus, collection, and reach.

In honor of our 90th anniversary, we’re looking back at some key moments of growth and change in the history of the Walters Art Museum.

The foundations of our collection predate the museum’s official opening. William T. Walters amassed a large private collection that his son, Henry, continued to grow. In 1874, William began a tradition of opening his home on West Mount Vernon Place for a few months each year so the public could view his collection. Proceeds from the ticket sales benefited the Baltimore Association for the Improvement of the Condition of the Poor.

Soon, the collection outgrew its space in the Walters home. In 1900, Henry Walters began construction on a building on Charles Street to house his artworks. The building’s interior was modeled after a 17th-century palace, or “palazzo,” from Genoa, Italy, while the exterior was inspired by a hotel in Paris, France. When the Charles Street Building opened in 1909, Henry continued his father’s tradition of fundraising for those in need by selling tickets to view the collection.

When Henry Walters died in 1931, he bequeathed his entire collection of more than 22,000 objects, the Charles Street Building, his adjacent town home on West Mount Vernon Place, and the land they sit on to the city of Baltimore, quote, “for the benefit of the public.” After organizing the collection, making necessary renovations, and hiring a small staff, the Walters Art Gallery formally opened to the public on November 3rd, 1934.

The museum’s attendance steadily increased from the time of its opening. However, at the end of 1941, America entered World War II, causing drastic changes. The museum never shuttered during the war, but several objects that were considered irreplaceable treasures were removed for safekeeping and sealed inside the Frederick Armory’s underground swimming pool for the duration of the conflict.

Many museum staff members served in the military during the war, including Marvin Chauncey Ross, the Walters first curator of Byzantine, medieval, and decorative arts. Ross enlisted in the U. S. Marine Corps and later became part of the Monuments, Fine Arts, and Archives Section Unit, also known as the “Monuments Men.” Among his other accomplishments at the Walters, Ross contributed significantly to The Journal of the Walters Art Museum. Launched in 1938, it is one of the oldest continuously published scholarly art museum journals in the United States.

Postwar, the Walters expanded exponentially, welcoming a growing number of visitors and increasing its staff and programs to keep pace with demand. Educational visits to the Walters also became a staple of the school-going experience in Maryland. Many of you may remember visiting the mummies or the arms and armor on your own school trips.

The Women’s Committee of the Walters Art Museum was established in 1963 with a mission to quote, “create goodwill for the museum.” Beginning with 12 determined founders, the committee grew to nearly 100 members at its peak and donated gifts in excess of $2 million to the museum.

Although the committee was sunset in 2021, women have been a driving force behind the work at the Walters since the beginning. Several members of the original staff were women, including Dorothy Kent Hill, the museum’s first curator of classical art; Winifred Kennedy, the museum’s first registrar; and Dorothy Miner, the first librarian and keeper of manuscripts, who worked at the Walters for an impressive 39 years.

The Walters Conservation and Technical Research Department has also been helmed by female leaders for much of its existence, most notably by Elisabeth Packard and Terry Drayman-Weisser. Founded in 1934, it’s the third-oldest museum laboratory in the country and is also marking its 90th anniversary this year.

In 2000, our institution changed its name from the Walters Art Gallery to the Walters Art Museum, a shift that reflected the museum’s growing role as a major public institution. This change coincided with a commitment to increase access to the Walters. With support from Baltimore City and Baltimore County, the museum eliminated its general admission fee in 2006, leading to a sustained increase in visitors.

In 2011, the Walters took its commitment to open access further, removing restrictions for more than 10,000 images of objects in the museum’s permanent collection, which can be used by the public for any purpose, free of charge, under a Creative Commons license. In 2014, the museum also removed admission fees for special exhibitions, making the Walters truly free for all.

The permanent collection has continued to grow over time, through both gifts and acquisitions made to broaden and diversify our holdings, leading to a need for additional exhibition space. To accommodate this need, the Brutalist-style Center Street building opened in 1974. And in 1985, Hackerman House became part of the Walters campus. Originally constructed in the 1840s and formerly known as the Thomas-Jencks-Gladding House, this stunning mansion on West Mount Vernon place was donated to the city by Willard and Lillian Hackerman in 1984.

Then-Mayor William Donald Schaefer held a competition to determine the best use for the structure, and the Walters won with its proposal to convert the building into galleries to house its growing Asian art collection. Hackerman House first opened as part of the museum in 1991 and recently underwent a multiyear restoration that revealed the building’s original beauty, reopening again in 2018. It is now one of five historic buildings that form the museum’s campus, which display and store our more than 36,000 works of art.

Ninety years in, the Walters Art Museum is looking ahead to the future. We recently opened Across Asia: Arts of Asia and the Islamic World, a landmark exhibition that brings together our core Asian and Islamic art collections for the first time. And in May of 2025, we’ll unveil Latin American Art / Arte Latinoamericano, an exhibition showcasing art from South, Central, and North America, including the Caribbean, in the newly renovated North Court Galleries.

Throughout our nine decades, one thing has remained consistent: The foundation of our institution is the people who bring it to life. The Walters has been continuously sustained not only by its dedicated staff, board members, supporters and volunteers, but also by the members of its enthusiastic community. Whether you’re a long time visitor or you’ve only been here once, we look forward to welcoming you on your next trip to the Walters. To learn more about the Walters Art Museum’s history, visit TheWalters.org/About.

[00:09:16] Karena Ingram, host: It takes a village to sustain this incredible cultural institution, and we’d be remiss to not hear from the folks that have worked hard to make the museum what it is today.

I’m honored to uplift the dear voices of my colleagues at the Walters to share their work and what they love most about the museum.

[00:09:31] Roz Kreizenbeck, Manager of Gallery Experience and Interpretation: So, my name is Roz Kreizenbeck. I am the Manager of Gallery Experience and Interpretation here at the Walters. I’ve been here for almost five years now. I started in January of 2020, which was an interesting time to start a new job. And so I grew up in Baltimore, and I actually went to elementary school about three blocks from the Walters.

It’s a school called Grace and St. Peter’s, which is sadly no longer in existence. But it was a really interesting school to go to because we were really embedded in the neighborhood. So, like, we would go to the Enoch Pratt for our library, we’d go to the YMCA, which is now BLSYW (Baltimore Leadership School for Young Women) for gym class, and we would come to the Walters a lot of times with our art class.

We spent a lot of time at the Walters, and I don’t really have, like, a specific memory per se, but I just have a lot of, like, memories of what it felt like being in this space. And coming in and just feeling very small and feeling like you could hear the echoes of your feet kind of walking around the museum.

And I just have a very specific feeling of being in kind of a darkened gallery space that was a lot of stone and seeing all of the arms and armor. And that was not something I was interested in as a kid, but for some reason that really stuck with me to the point when I came back and I started working here, I was like, “Where is that gallery?” Which doesn’t, does not exist anymore [laughs]. But just have this very distinct, full-body memory of being in the space that felt maybe like a little cool, that felt a little echoey and was dark, and seeing these really large metal pieces of armor, and being just so impressed by the size of them and the different patternings and designs on them. That just really has stuck out at me.

And I, yeah, to the point where when I started here, I was like, “Where’s that gallery?” Which I think was the cafe from what I can gather. I think especially in the Charles Street building, just when you come up those stairs from the Charles Street entrance into the Sculpture Court, I always feel kind of small. But not in a way that feels overwhelming, but in a way that’s just like, wow, there’s something really big here that I’m a part of.

And when I first started coming up those stairs and seeing the Adam and Eve sculpture at the top, I was like, it just, that was also, I remember that so clearly and vividly from being a kid. I think that like the colors of it, but also that feeling of looking up at something that felt really large and impressive.

[00:12:03] Will Murray, Lead Maintenance Technician: My name is William Murray. I’ve been here 26 and a half years now, and I’m the Lead Maintenance Technician. All right, so, I guess all the years I’ve been here, I’ve had a ton of great memories. And other than doing this podcast today with you, one of them is when I had the chance to be the voice of God in the St. Francis Missal video. But I think the backstory to how I got that opportunity was pretty funny.

So, Will Knoll, the late, great Will Knoll, who was a curator here, he was supposed to be the voice of God. And obviously [he] had an English accent, and we used to joke at the staff coffees that we had, “Why do some movies always betray biblical characters with accents?”

So, Richard Leeson was a fellow at the time, and Will was kind of his mentor. Richard Leeson was kind of putting the video together, so I got this idea to portray the voice of God in an All Staff meeting. And so we got a thunder and lightning sound, and Gary Vikan was the Director at the time, and toward the end of the All Staff meeting, Eric, who’s our AV tech, turned the lights down and he put on a thunder and lightning sound. And I came in as the voice of God and read my script to Richard. I’ve actually found the script that I wrote years ago, and I’ll read it.

“Richard, my son, why did thoust have Will Knoll doing my voice? What’s the matter? Richard, was Will Murray busy? His voice is just as deep and resonant. And I got to tell you, Richard, he’s a great guy. And Richard, whoever said I have an accent? Haven’t you seen The Ten Commandments? Cecil B. DeMille got it right, Richard. Well, here’s the Eleventh Commandment: Thou shall not cast anyone with an accent to play me ever again. But not to worry, Richard. I’ll see you again in about seventy years. We’ll discuss it then.”

And it ended. [laughs] And all through the rest of the day, people were coming around asking, “Was that you?” And then I saw Richard later on in the day, and he came up to me and said, “Do you want to be God, man?” I was like, “Yeah, if it’s that easy.”

And so I went on and we recorded, and Will was actually director when we were doing the video. We went to someone [who] had a home studio. We did the video. Mike McKee, who’s still here at the Walters, he was in the video as one of St. Francis’ followers, and Kevin Auer as well. Greg Rago, who’s in marketing, he played St. Francis.

We filmed some of it in the Cafe, and we took out all the furniture and I think they went to someone’s house. They had a big yard and they were kind of walking across the field. But as Will was directing me, the first time I think I’d heard my voice, you know, in my head through a microphone, in my ear through a microphone. And so, his direction was something like, “So, Will, try not to sound too condescending. Try to sound more like Moses.”

I was like, “What the hell? What that even means?” But we went on and we finished the video and the rest is history. I’m not sure how many views it’s gotten on YouTube, but that was—I’d have to say that was my greatest memory working at the Walters. One of the ladies was Marietta, who was a rental coordinator after that, that’s all she called me for the whole rest of the time she was here. She’d see me in the hallways, she’s like, “Hi, God.” [laughs]

[00:15:32] Ariel Tabritha, Director of Publication and Digital Production: Hi, I’m Ariel Tabritha. I’m the Director of Digital Production and Publication. A large part of my job is photographing objects in the collection, and I get to have a really close up view of the objects as they come through the photo studio. And one of the objects that really stands out to me and was such an experience to photograph is our Chinese Buddha that’s on view on the fourth floor.

It’s a wooden Buddha that’s seated. It’s a pretty simple kind of design, very calming statue. And when it came into the studio, I was experimenting with lighting. I did some kind of just basic lighting, and then I was thinking about what context this piece would have been in originally like, “How it would have been lit? Would there have been candles perhaps around it?” And looking at what it would look like lit from below. And when I did that, when I put the light shining up onto it, rather than from above, the lacquer eyes suddenly lit up and looked like human eyes. It suddenly became this presence in the room. It was such a visceral experience that you don’t really get to have usually experiencing this piece of art in a different way.

It’s on view in our galleries on the fourth floor currently, and it’s lit from above. But if you go to our art site, you can see the photos from that photo shoot and you can see those eyes lighting up and get a kind of different view into the piece, which I think some of the other photography, you can get that with too. You can see the bottom of it. Some of the pieces have a little feet on them, [laughs] their toes underneath, or like just seeing the back of pieces is sometimes interesting.

[00:17:15] Karen French, Head of Paintings Conservation: My name is Karen French. I’ve been at the Walters for 31 years. I started in the fall of 1993. I’m now the Head of Painting Conservation, and what drew me to my profession as a conservator is the physical exploration and the experience that we get of being so closely involved with the work of art. Basically, one of the things I love about my job is the intimacy that we have with an artwork.

We’re able to look really closely at the surface and the forms to try to understand how the artist made it, which is critical for how we then treat it. So, we’re looking at what materials the artist used and the way the artist produced the artwork. And I’m very lucky because it’s a complete luxury, I think.

Sometimes we can get to spend a whole day looking through a microscope at something that’s absolutely beautiful, even if we look at it from the most close quarters. We can go rave about particular brush strokes or something. It’s kind of a strange profession. I’ll spend a day X-raying a painting so that we can really understand how the artist layered the paint and built it up or put it together.

We kind of unpack the mystery of the painting. It’s sort of a kind of sleuthing job in some ways. The Walters has always been, since it started in 1934 as a museum, had a Department of Conservation and Technical Research, and so that was recognized very early on that it’s important to understand the artwork as we work on it.

So, it’s not just me as a conservator. There’s always a team that works, and actually the Walters was also very much in the fore of having a scientist on board with the conservators, so it’s really a collaborative thing between the curator, the conservator, and the scientist. And that’s still true today, so it’s great we have this working team.

The integrity of the artwork is what we’re looking to try to find, and although it will have changed somewhat, you know, a canvas cracks a panel my age, you know, just as we get our wrinkles and different things since we get older. And in fact, I think I would find it very weird if a painting from the 1500s was in immaculate condition.

In my time here at the Walters, it’s a very rich collection, and what drew me to come to this museum was I specialized in doing structural treatment to panel paintings. Paintings generally are painted on a fabric support, often a canvas on a stretcher, or early paintings on wooden panels. No other museum really could employ someone to do just that, but this collection here at the Walters is very rich in early Italian panel paintings, as well as having Russian and Greek icons and other forms.

But I had trained in doing all sorts of paintings, so I came here and the collection is so rich I’ve still got wonderful things to work on. In some ways it’s amazing because we even have generations of artists in the collection. And so one of my favorite things I worked on was these early predella panels by the artist Giovanni di Paolo.

And we have four of the five panels that were smaller panels that run along the bottom of an elliptic, which is a big older piece composed of many panels. And this was Giovanni di Paolo’s first known commission. He was a young artist, and he pulled out all the stops and did the most amazing paintings. And I had the luxury of being able to sit with a microscope and look at these really, really closely.

And they are beautiful. I mean, they’re beautiful when you sit [them] on the wall, and even more so to look at them for their technique. And we were able to study these four early ones, and then we actually have a large altarpiece, the Foscini altarpiece, that was painted at the end of his career. So, being able to sort of compare how his technique evolved. And probably the early one is very likely just his hand, as if he was starting out. The later one, possibly he had studio help, and also how he had changed his technique. And then we have a couple of other paintings kind of in the middle there. Especially for an American collection, that’s amazing that we have that richness here.

One thing we try to do if we are working on a piece and we can make discoveries and things is that we try to publish it. And so we’re very lucky the Walters has a historic journal here, or we will give the lecture somewhere else and try to put that kind of information out.

Try to not have it be, it is a subjective thing. We aim to have our work not be visible on the wall. If I’ve done my job properly, hopefully I’ve made it so that the artwork can be appreciated how the artist intended it to be despite aging and treatment.

[00:21:37] Henry Alperovich, Manager of Information Technology: My name is Henry Alperovich, and I’m the Manager of Information Technology at the Walters Art Museum. I’ve been working here for nearly 25 years and have been honored to collaborate with so many talented individuals from diverse backgrounds. I would like to share a unique experience at the museum that has profoundly changed my life.

When I started working here, I was invited to my first Christmas party, which was my first experience at a corporate social event. I enjoyed dancing at the party and some staff members joked about whether I could teach Latin American dance at the museum. I laughed at the time, but the idea stayed with me for many years.

Ten years later, I stopped by the HR office and proposed something unprecedented: offering Latin American dance lessons to staff during the lunch hour when the museum is closed to the public. I’ve been volunteering to teach these lessons ever since in response to popular demand from my colleagues. For all these years, I had a dream of performing with one of my dance students at the Christmas party.

Last year, my dance partner Karena and I prepared a bachata dance routine in which I danced blindfolded, and it was a huge success and a delightful surprise for everyone. In today’s fast-paced corporate environment, maintaining a healthy work-life balance is essential for employee satisfaction and productivity.

There are numerous benefits to a balanced work culture. Incorporating dance lessons into the workplace can be a powerful tool for achieving this balance. Dance is not only a form of artistic expression, it is also an excellent way to relieve stress, enhance physical fitness, and foster a sense of community among employees.

[00:23:21] Niki Miller, Assistant Manager of Multigenerational Programs: I’m Niki Miller. I’ve been at the Walters for a little over five years now. My title is Assistant Manager of Multigenerational Programs, which is a very fancy way of saying that anything like “free, family friendly program,” I sort of work on. My work is rooted in that.

So, in thinking about my favorite things in the time I’ve worked here, my favorite project that’s sort of ongoing is our Drop-in Art Making program. I started working on it when I was very new to museum education as a part-time person teaching the program, and then that sort of morphed into, like, a project management role, which is kind of what I do now. So, Drop-in is free for all ages, and we have an art project going on inspired by something in the collection.

It’s really sweet. I meet a ton of people when I work Drop-in, and over the years, I’ve met some of the best people. It’s a really nice way to spend your time at work, making art with other people. So, a lot of my favorite memories are rooted in that program, and also, like, thinking about the people that I’ve interacted with over the years.

A measure of, like, when I know the program is successful or when we’re having a good day is when people feel excited and, like, comfortable to spend time with us. A win is when people feel really proud of what they’ve created. So a lot of the things that have stuck with me is when people finish creating their artwork and then, like, parade it around through the table to like do a little show and tell.

We had a little one a few weeks ago. We were making little dioramas of a space you feel comfortable in, and she made hers in like record time. She knew exactly what she wanted to do. And then went around to show everyone, and she had no—like she didn’t know anybody besides her family. She just came with her family but she went to every table showing it off, which I thought was so cute and very sweet.

And given it’s an all-ages program, we’ve had a lot of very sweet interactions with, you know, very young people, adults, and, you know, a lot of people don’t come together, so it’s a nice communal space to see people interacting. One time we had a little guy who was very proud, again, of what he created, and decided to, like, do a contest of, like, “I think my artwork’s the best, I’m willing to go to bat with it.”

And so we had a little bit of a judging contest, and of course he won. But he beat out a man who was probably like 40. [laughs] And then also, it’s been really rewarding to have worked here and have seen littles that I knew when they were a literal baby. [laugh] And now they’re toddlers and older and to see them grow throughout the years. And then their projects are different now. It’s so nice to get to know people in that way.

It’s a really big joy to work at a place where people choose to spend their free time. One of our coworkers in security made that note to me one time and I was like, “That’s a really beautiful way to put it.” So, just to get to spend time with people when they come here and they’re like excited to be here, it’s nice. [laughs] Sometimes it helps, you know, when you’re having a little bit of a rough day. Alright, cool it down, we can go in the galleries. You know, hang out with people, it’ll be nice.

[00:26:18] Karena Ingram, host: Thank you so much to everyone for sharing such heartwarming stories about the Walters.

As I mentioned at the top of the show, today is not only the 90th anniversary of the Walters, but it’s also the third annual Walters Day of Giving. Each day of giving, art enthusiasts like you lovely folks listening to this museum podcast right now come together to support the conservation of objects being treated in the Walters Conservation Lab.

This year’s goal is to raise $9,000 towards the conservation of objects in our upcoming installation, Latin American Art / Arte Latinoamericano, opening in May of 2025. To learn more about how you can help support Day of Giving, here’s a word from Eliza Mullen.

[00:26:58] Eliza Mullen, Senior Manager of Grants and Foundations: Hi, my name is Eliza Mullen, and I am the Senior Manager of Grants and Foundations here at the Walters Art Museum. I am here to share with you about our annual Day of Giving event happening today. In reflection, in the eight years I’ve been at the museum, I have been so proud of seeing all the ways we connect our community with art, and for free to the public no less.

From seeing works in the galleries like ancient Roman sculptures, one of a kind manuscripts, or dazzling Fabergé eggs, to our Lunar New Year festivals, to community labels, it’s hard for me to narrow down exactly what activities I’ve loved the best because we do so much here. And it is even more impossible for me to pick a favorite artwork.

But I can honestly say that it fills me with pride beyond measure that we can make thousands of years of art accessible to people of all ages at no cost to them. I love what I do because I know that our supporters make that happen. Now, it’s an exciting time of year because today is Walters Day of Giving, which kicks off our annual giving season.

On November 3rd, art enthusiasts come together to raise $9,000 in one day to help conserve objects being treated in the Walters famed Conservation Lab. Since its opening on November 3rd, 1934, the Walters Art Museum has been home to one of the oldest conservation labs in the United States. Every day, the lab is filled with books, objects, and paintings in need of conservation.

And as we speak, the team is hard at work preparing artworks for view in the upcoming installation of Latin American Art / Arte Latinoamericano, opening in May 2025. As some of you probably already noticed, this year we also celebrate a special milestone in Walter’s history, our 90th anniversary. Please help the museum continue to take care of these artworks and our community for another 90 years.

We invite you to give what you can and help us make this year’s Day of Giving a great success, so the museum can keep making this art available to you and your family. Every donation helps as we rely on philanthropy to sustain the museum. For more information, please check out our website, sign up for our newsletter, or check us out on social.

On behalf of all of us, thank you to all our supporters who keep the Walters open, free, and full of excitement.

[00:29:09] Karena Ingram, host: Thanks so much, Eliza. Free access to the Walters Art Museum, online and in person, is made possible through the combined generosity of individual donors, foundations, corporations, and grants from the City of Baltimore, Maryland State Arts Council, Citizens of Baltimore County, Howard County Government, and Howard County Arts Council. To learn more about engaging with or supporting the Walters, visit TheWalters.org/Give.

A big thanks to everyone who was featured on today’s episode: Henry Alperovich, Karen French, Niki Miller, Eliza Mullen, Will Murray, Roz Kreizenbeck, and Ariel Tabritha. Free Admissions, the Walters Art Museum podcast, is made possible by Marketing and Communications Director Connie McAllister, Communications Manager Sydney Adamson, Head of Graphic Design Tony Venne, Graphic Designer Rachel Minier, Web Specialist Dylan Kinnett, Content Writer Erin Branigan, IT Specialist Frank Dickerson, and edited and hosted by me, Karena Ingram.

We hope you enjoyed this episode. If you did, please leave us a review and share this episode with your friends. You can visit TheWalters.Org for more information and to plan your visit. Hope to see you at the museum soon.