Arena of Virtue and Temple of Immortality: An Early Nineteenth-Century Museum Project

Abstract

T H E E A R L Y nineteenth century witnessed the formation of many museums. But rarely was one so relentlessly controlled by symbolism as D. P. G. Humbert de Superville's project for a Dutch National Museum of Plaster Casts.1 Every detail of the arrangement, the construction of the edifice, and the puristic, limited choice of sculpture was determined and linked by a myriad of classical and preclassical allusions. Complete meaning was assigned to each object based on a highly elaborate literary iconology. In I806, during the reign of King Louis Bonaparte in Holland, Johan Meerman (I753-I815), archaeologist and inveterate traveller-collector, was named general director for Arts and Sciences Affairs. In this capacity he was attached to the foundation and extension of the Royal Library and the Royal Museum.2 Among the artistic projects fostered both by monarch and minister was the molding of plaster casts after the great antiques found principally in the Vatican and removed by the French to the Musee Napoleon. In addition Humbert's illustrious friend Johan Melchoir Kemper, professor of jurisprudence at the University of Leiden and a counselor of state, was responsible-through his zeal-for getting the royal resolution carried out. When Louis sud-