Marble Bust Research Articles

The Annexation of Anton Bruckner: Nazi Revisionism and the Politics of Appropriation

The infamous photograph of 1937 in Regensburg (see Fig. 1) is difficult to forget: Adolf Hitler, in full Nazi military dress, stands gazing reverently at a marble bust of the Austrian composer. 1 This likeness, created by Adolf Rothenberger in a style consonant with National Socialist realism, is placed on a dark pedestal bordered in gold and topped with the Nazi seal, an eagle clutching the swastika. Bruckner had at long last joined the other luminaries of German culture in Regensburg's Valhalla, a marble replica of the Parthenon completed in 1841 under the direction of King Ludwig I of Bavaria and filled with images of German cultural heroes of the past. A central goal of the Bruckner occasion was the Austrian composer's elevation to the status of a full-fledged German composer brought into the embrace of the Third Reich, a step that no doubt foreshadowed--and helped prepare for--the AnschluJ3 of Austria eight months later.2 The Regensburg ceremony-which included speeches and remarks by Peter. Raabe (president of the Reichsmusikkammer), Max Auer (president of the Internationale Bruckner-Gesellschaft), Joseph Goebbels, and others-served as a centerpiece for various musicalpolitical events, including a series of concerts, a convention of the Internationale Bruckner-Gesellschaft, and a meeting of the Bavarian District Nazi Party Congress (see Fig. 2). Through the narrow lens of Bruckneriana, this celebration could be interpreted merely as an event capping the festivities of the previous year commemorating the fortieth anniversary of Bruckner's death. But from the wider perspective of Nazi political strategies of the late 1930s, this event should, more correctly, be recognized as a launching point. Beyond this Bruckner anniversary, 1936 marked a time when, according to Goebbels, the 'chains' of Versailles had finally been 'stripped off' ; Germany had once again become a formidable military

The Noblest Roman of Them All: A Tribute To Justice Marshall

The Noblest Roman of Them All: A Tribute To Justice Marshall Louis F. Claiborne THURGOOD MARSHALL. The name must be writlarge, in bold, unadornedcapitals. Straight Roman: no elegantly leaning English script or Gothic curlicues. Come to think of it, Justice Marshall is very like a Roman, Not, needless to say, one ofthose stem marble busts that adorn public spaces. Our subjectisnotunsmilingstone. Nortruncated. But before immortality, Romans, too— Romans, especially— wereverymuchalive. Onlyremotely do I invoke the severe and tragic heroes ofancient Rome: Horatius at the bridge, Cato the Elder, the Gracchi, Marius, Cicero, Brutus. And not at all the too frequent abusers of power mercilessly depicted by Suetonius and Tacitus. There is, however, a common threadwiththe giants: Julius Caesar, Pompey, Antony, Augustus, Trajan, Hadrian, MarcusAurelius,Constantine, Justinian. Besides, the life of Rome offers innumerable exemplars, named and unnamed, who bring to mind-or, at least, to my mind- the particular qualities of Thurgood Marshall. One such attribute is largeness—largeness of body, of mind, of spirit. The first time I saw Marshall was in 1960 when I was an over-age law clerkto U.S. DistrictJudge Skelly Wright in New Orleans. The huge federal courtroom waspacked for one of the many disreputable chapters in Louisiana’s full-fledged resistance to school desegregation. Ifl rememberright, a three-judge court was about to hear a challenge to a series of specially concocted state statutes designed to avoid or at leastretard, the inevitable. At counsel table, on one side, were the Louisiana Attorney General, Jack Gremillion, along with a coterie of state lawyers. On the other side were the U.S. Attorney and the attorney for the New Orleans School Board, intent on obeying the Court’s desegregationorders. Then, as I picture it, in came ThurgoodMarshall,“bestridingthisnarrowworld like a Colossus.” No doubt, Marshall, too, had assistants with him, local NAACP lawyers helping to represent the African-American plaintiffs in the case. But everyone else was eclipsed. When his turn came, the chiefNAACP lawyerunbentto his full stature and, once silent expectation had taken hold, addressed the court with simple eloquence. He was forceful, clear, calm, understated, and to the point. A briefer Cicero, though not as pithy as the Marshall of the bench. He was winning and he won althoughtherewere other lawyersthereofno meantalent. Atallevents, itwasclearto everyone that Marshall had entirely dominated the scene.1 Long before my time, Marshall had demon­ strated the Roman qualities ofcourage and lead­ 20 JOURNAL 1992 ership. But my next encounter with our Roman revealedtwo relatedvirtuesthatPlutarch attributes to the best citizens of Rome, generosity and for­ bearance. I was one of the senior lawyers in the Office when Thurgood Marshall became Solici­ tor General in the Summer of 1965. Immediately, he showed restraint and kindness. Thus instead of insisting on the traditional prerogatives, he in­ vited his predecessor, Archibald Cox, to preside in his place at the meeting ofthe Supreme Court Bar when it prepared memorial resolutions in honor ofJustice Frankfurter in October, and per­ mitted Dean Acheson to read those resolutions to the Court.2 This was the generosity of a big man who knew how much Harvard graduates would cherish the honor. But it was also good Roman policy: winning gratitude at little cost. And Thurgood Marshall did the same with us, his senior colleagues in the Solicitor General’s Office. He flattered us with unusual deference. But, as we soon learned, although he was good at delegation,therewasto beno abdication. Marshall read all the papers, with extraordinary speed and SolicitorGeneral Thurgood Marshallwith Attorney General Nicholas Katzenbach, left, in front of the SupremeCourt October 11,1965, openingday ofthe 1965 Term. Thiswas Marshall's first“FirstMonday” as Solicitor General. retention. Nor was he reluctant to take the really important decisions himself. And he backed his lawyersto the hilt, assumingfullresponsibilityfor what was done, even when the controversial act was initiated by us. There were otherreasons, also, for Marshall’s effectivenessas arbiterof federal litigatingpolicy- - a not unimportant role ofthe Solicitor General. Like the best of the Romans, he was entirely lackinginpompousness or affectation:his straight­ forward questions and unassuming manner, com­ bined with a commanding presence and a keen sense ofthejugular, disarmed those with contrary views. And, if this were not...

A Bust of "Sappho" by Antonio Canova

In the last decade of his life, Antonio Canova carved a series of idealized female marble busts, one of which was of the ancient Greek poet Sappho (Barbara Piasecka Johnson Collection, Princeton, N.J.). This bust is more restrained than most of the others, but the severity of the form is belied by the gentle charm of the expression, which is animated by enigmatic smile with a hint of sadness. A few locks of hair escape from the smooth coiffure, showing that the sculptor's ideal of beauty, far from being purely cerebral and abstract, was humanized by naturalistic touches that lent an extraordinary softness to his work, in the words of a contemporary admirer.

A Fresh Face for Samuel Gompers: Methyl Cellulose Poultice Cleaning

A marble bust of Samuel Gompers was evenly cleaned of surface grime and dirt, using a modified methyl cellulose poultice. The rheology, adhesion and film-forming properties of the poultice medium were modified by adding propylene glycol and fumed silica to a product with a lower degree of substitution than is more commonly used in conservation. The poultice film was peeled away after it had dried.

Die Bestimmung der Herkunft der Marmore von B�sten der M�nchener Residenz

51 Greek, Roman and Renaissance marble busts from the Antiquarium of the Residenz in Munich were studied for their C- and O-isotopic composition. Apart from some overlapping values, this technique permits — contrary to microscopic and chemical methods — localization of different Turkish, Greek and Italian marble deposits.

Matthew Fontaine Maury (1806–1873) ‘Pathfinder of the Seas’

In Virginia's splendid State House at Richmond there stands a marble bust of Matthew Fontaine Maury, one of Virginia's more eminent natural scientists. It might be a matter for dismay for a mariner to read the inscription below the elegant bust, to the effect that this remarkable man owed his fame to having invented an electric torpedo; Maury's fame stands on a much firmer foundation than this! In 1916 the State Board of Education of Virginia set January 14th as ‘Maury Day’ in honour of its celebrated son, and each year on that day Virginian schoolchildren observe and commemorate his birthday. Because of his service to navigation Matthew Fontaine Maury merits the title ‘Pathfinder of the Seas’.

On the Pedestal of Bernini's Bust of the Savior

In an essay on Bernini's death and the art he made in preparation for it, I stressed the significance of the monumental support he designed for his last work, the great marble bust of the Savior, now in the Chrysler Museum at Norfolk, Virginia.1 The pedestal is described in an early inventory as consisting of a socle surmounted by two kneeling angels who held in their hands a base of Sicilian jasper, on which the bust itself rested. The socle and angels, made of gilt wood, were nearly two meters high, the jasper base was 28cm high and 50cm wide at the bottom, and the bust is 93cm high, for a total of more than three meters. In a footnote I expressed puzzlement as to how the weight of an over lifesize marble bust was sustained in the hands of wooden angels.

The Museum as Educator: The Helen Foresman Spencer Museum of Art

In 1878 the University of Kansas received its first work of art—a marble bust of Amos Lawrence sculpted by the then well-known Boston artist, Henry Dexter.In 1928 the University of Kansas dedicated its first art museum, comprised primarily of the extensive and eclectic collection of Sallie Casey Thayer of Kansas City.In 1978 the University celebrates the golden anniversary of its museum and the centennial of its collections with the opening of the new Helen Foresman Spencer Museum of Art, bringing to the campus one of the finest teaching museum facilities anywhere in the country.

ORLANDO GIBBONS: THE PORTRAITS

No contemporary portrait of Orlando Gibbons (I583-I 625) is known to exist; the most artistic and reliable likeness is that of the monumental bust commissioned by the composer's widow and erected in Canterbury Cathedral in i6261 (Plates I & II). Other representations are the engravings given by John Dart,2 after the bust, and Sir John Hawkins3 (Plate III), probably derived in turn from Dart, and the painting in the Faculty of Music at Oxford (Plate IV), the main subject of this article. The twenty-inch high white marble portrait bust, which forms the focal point of Gibbons's monument in the north aisle of Canterbury Cathedral, is by far the superior work of art. It is an example of the fashion, between about i620 and I640, for busts or demifigures derived from the antique to commemorate the dead, and is the work of Nicholas Stone (I583-I647),4 a prolific sculptor who produced a great range of commemorative sculpture, most of it imaginative in design and of distinguished quality; the relevant entry in Stone's Notebook states: 'In i626 I set up a monument at Canterbury for Orlando Gibbons, the King's organist, for the which his wife paid ?32'.5 As befitting Gibbons's status, his monument was modest in comparison with that of, say, Thomas, Lord Knivett6 at Stanwell in Middlesex, for which in I623 Stone had charged 2 I5. E. H. Fellowes noted that the bust had been roughly handled, and the nose broken, but this has since been restored. To

Some Unnoticed Works by Pierre Puget

The French sculptor Pierre Puget (1620-I694) is documented as having produced sculptures from I656 until his death, a period of thirty-eight years. The technical bravura of his first datable sculpture, the Toulon Caryatides (more properly called Atlantes), suggests that his career might have begun as much as fifteen years earlier.2 Yet only about seventeen stone and bronze works can be positively identified as executed after Puget's designs. It is well known that several of his grandest schemes ended as abortions because of problems with patrons and are now known only by means of a few sketches. Much of the creative effort of Puget was thus wasted. However, it seems highly probable that other sculptures, particularly small ones, and some further studies for projects abandoned before full-scale realization, must have existed. During a year of research in France this writer sought to track down some of these lost works. One important clue as to where such objects might be found appeared in the Puget documentation. It is clear that Puget's grandson Pierre Paul Puget (168o1773) inherited a considerable quantity of his grandfather's sculptures and kept most of them during his long life. When a lawsuit in 1757 forced the sale of one of the four buildings left by Pierre Puget, the villa at Fontgate, an inventory made at the time by Pierre Paul shows everything still intact, though the death of the sculptor had occurred fifty-five years earlier.3 Pierre Paul is also reputed to have maintained a kind of Puget museum in the Marseilles town house of his grandfather.' A large part of the collection probably existed in situ until the death of Mme. Pierre Paul Puget in 1783, though the sale by Pierre Paul of certain important works such as the relief St. Charles Borromeo and the Plague is documented. Thus a substantial part of Puget's property and many of his sculptures and drawings were apparently dispersed in Provence between 1770 and the ninth decade of the century. Some of these undoubtedly were destroyed during the French Revolution; however, there seemed to be a good possibility that others, especially smallscale ones, survived that upheaval and entered anonymously some of the numerous collections formed by Provengal amateurs just after the revolution. One important collection amassed during just this postrevolutionary period by the Bourguignon de Fabregoules family of Aix-en-Provence was given in its entirety to the Mus6e Granet in 1863 and has consequently remained intact. It contains two wellknown works by Puget, the large drawing of a project for the unexecuted baldachino of the Carignano church in Genoa and a brilliant preliminary terra-cotta bozzetto of the St. Alexander Sauli statue now in the same Genoese church.6 There seemed to be some possibility that still other works by Puget might be found among the substantial quantity of sculptural material from the De Fabregoules collection passing under various great names in the old Aix catalogue but now consigned to oblivion in the storage rooms. Monsieur Malbos, curator of the museum, kindly consented to the examination of the entire collection of sculpture in the reserves. Three works discovered there are probably Puget's original clay studies, heretofore unidentified, for various sculptures, both known and unknown. The first to be recognized was the fine, highly finished small clay sketch for a recently attributed work, the marble bust of Marcus Aurelius after the antique, now in the Municipal Hospital in Genoa (Figs. I and 2).' Miss Rotundi recognized the hand of Puget in the marble bust from Puget's large Abduction of Helen, also in Genoa (Fig. 13), which she had studied carefully.8 Unfortunately, she went beyond

Henry Hoare's Paradise

In the early eighteenth century Henry Hoare, the banker, built a Palladian Villa near the old manor house of Stourton on the Dorset border of Wiltshire (Fig. 1). He called the place “Stourhead,” from the springs of the river Stour in the valley below. His son, Henry “the Magnificent,” completed the house and dammed the valley to form a lake, around which he made a landscape garden famous in his day and now one of the most perfect survivors of its kind. The house stands on high level ground overlooking the bare Wiltshire downs, its original appearance altered by the addition of wings and a portico (Fig. 5). Some three hundred yards to the west, at a place traditionally known as Paradise,1 the ground falls steeply into the valley where the lake is situated. This can also be approached by a road which descends dramatically from the bleak upper landscape into the lush atmosphere of the garden, where the planting of the hillsides increases the height and the impression of being in a hollow. The walk round the ...

The Chinese Marble Bust in the Rietberg Museum

The Chinese Marble Bust in the Rietberg Museum

A Bust of an Antonine Boy

In 1944 Father Joseph Jarzebowski, M.I.C., now headmaster of a school for Polish boys at Fawley Court, near Henley, acquired, at an antique-dealer's (Galeria Ordáz) in Mexico City, a draped marble bust of an Antonine boy, which is now displayed in the hall of the Court. It is by Father Jarzebowski's kind permission that I am able to publish the portrait here (pls. 1, 1, 2, 11, 1, 2).The piece is certainly antique, cleaned, but not reworked, and carved, it seems, in Luna (Carrara) marble. It stands 1 ft. 11 in. high, including the base and pedestal, which appear to be modern. At the back a new portion has been inserted at the bottom of the column that runs up inside the hollow of the bust, so that the sculpture can rest steadily upon the base.

A MARBLE BUST OF FRANKLIN by JEAN-JACQUES CAFFIERI

A MARBLE BUST OF FRANKLIN by JEAN-JACQUES CAFFIERI

En Sergelbyst byter namn

Summary In the Malmo Museum there is a marble bust signed “Sergel” and dated 1787, which was for a long time believed to represent Count Karl Rein‐hold von Fersen. In actual fact, however, the bust represents the latter's second‐cousin and brother‐in‐law, the Governor‐General of Stockholm Baron Jakob Albrekt von Lantingshausen, who had already died in Stockholm in 1769. Sergei could not have executed this bust “ad vivum” but he evidently composed it on the basis of a painted portrait and a commemorative medallion. Nor has the sculptor succeeded in getting a true likeness of Lantingshausen. Moreover, artistically speaking this work has not the merits of the better known and approximately contemporary portrait bust representing Karl Rein‐hold von Fersen's wife Charlotta Sparre. This latter bust is likewise now owned by the Malmo Museum. Both works of art were acquired from Bogesund Castle, where their having been placed side by side may well have caused the confusion of names, as also the fact that the male...

HARALD HIRSCHSPRUNG 1830-1916

Harald Hirschsprung was born in Copenhagen, Denmark, on Dec. 14, 1830, and died on April 11, 1916. He passed his state examination in 1855 and was made a teacher officially in 1861; in 1870 he was made the head physician to the Queen Louise Children's Hospital in Copenhagen. He became professor of diseases of children in 1877. In 1904 he retired from his hospital and teaching positions. On his seventieth birthday there was a celebration in his honor, and a marble bust was unveiled in the hospital. His dissertation was on the occlusion of the esophagus and the small intestines, and later he published many articles on all sorts of subjects pertaining to pediatrics, especially on intussusception, acute rickets, rheumatic nodules and constipation in the new-born infant from hypertrophy of the colon. His paper on this subject appeared in the<i>Jahrbuch für Kinderheilkunde.</i>¹ Hirschsprung's name is usually associated with

Restoration and Preservation in Museums

DR. SCOTT referred to the disintegration of stone objects arising from the crystallisation of salts contained in the porous material, and to the extraction of the salts by means of wet paper pulp; salts are also removed from fragile brick tablets by first applying a celluloid coating, and then diffusing the salts into distilled water. Stains on old manuscripts can frequently be removed by the application of pyridine, and brown marks on water-colour pictures by the application of a solution of chloramine-T. The treatment of ‘bronze disease’, a condition due to the presence of chlorine, by soaking in sodium sesquicarbonate solution followed by copious washing will often remove all the chlorine without attacking the patina, whilst in aggravated cases, soaking in citric acid solution or the use of an electrolytic process may be necessary. Fourteenth century glass from Wells Cathedral was found to be coated with material derived from the combined action of an impalpable powder arising from the limestone floor and sulphuric acid provided by the combustion of gas. Other problems the successful solutions of which were described by Dr. Scott included the corrosion of a silver chalice, the unrolling of a manuscript on fragile leather, and the cleaning of marble busts.

Marble bust of Sir Isambard Brunel by Chantrey

Marble bust of Sir Isambard Brunel by Chantrey

Marble bust by Chantrey of Sir Isanbard Brunel

Journal Article Marble bust by Chantrey of Sir Isanbard Brunel Get access C. P. M. C. P. M. Search for other works by this author on: Oxford Academic Google Scholar Notes and Queries, Volume s12-I, Issue 8, 19 February 1916, Page 148, https://doi.org/10.1093/nq/s12-I.8.148f Published: 19 February 1916

Presentation of Bust of Lord Kelvin

AT the general statutory meeting of the Royal Society of Edinburgh, held on October 27, a marble bust of the late Lord Kelvin, by Mr. A. M'Farlane Shannan, which had been given by Lady Kelvin to the society, was formally presented and received. Sir William Turner, the retiring president, occupied the chair, and there was a large and representative gathering of the fellows and the general public. Prof. Crum Brown made the presentation in the name of Lady Kelvin. After referring to Lady Kelvin's thoughtful kindness in giving this beautiful bust as a permanent possession of the Royal Society of Edinburgh, and to his own lifelong friendship with Lord Kelvin, Prof. Crum Brown referred especially to Lord Kelvin's “supreme love of truth and of his intense interest in everything, however apparently trivial, connected with the constitution or with the working of the physical universe. These were the prime motives to his work, and he carried it out in the same spirit. Having formulated a problem, he followed the straightest course to its solution. Of course, he encountered difficulties; these he did not evade, he surmounted them. To do so he had often to invent and construct special instruments of wholly novel type. . . Lord Kelvin was a great mathematician. He was never at a loss to find the mathematical key. . . Lord Kelvin was no intellectual miser. When in the course of his scientific work he came across something which could be so applied as to be of practical use, he developed this application, and thus became the inventor of instruments, truly scientific instruments, differing in character from those he made for purely scientific purposes only in this, that they were also used and very highly prized by those who were not necessarily scientific, who perhaps did not care about the dissipation of energy or vortex motion. These practical men, by using Lord Kelvin's inventions, came to see that pure science was not vain; they came to know something of the tree from its fruit. Lord Kelvin was quite free from selfishness or jealousy. He rejoiced in his own work and discoveries; he also rejoiced in the discoveries of others. In questions of first importance to man, where science gave no help, Lord Kelvin was a humble and devout disciple. In Lady Kelvin's name I hand over to the Royal Society of Edinburgh, through you, sir, as president, this beautiful work of art and striking likeness of Lord Kelvin, one of the greatest discoverers in pure science, a true benefactor of mankind, our honoured president and dear friend.”