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Casts and Copies: Ancient and Classical Reproductions Casts and copies Ancient and classical reproductions Andrew Jamieson and Hannah Gwyther Casts and copies is an exhibition the time of the accession of the of modern reproductions of neo-Babylonian king Nabonidus in ancient and classical sculptures 556 BCE. The exhibition also includes and artefacts, drawn from the a group of ancient Babylonian University of Melbourne’s Classics kudurru—commemorative stela— and Archaeology Collection at the with cuneiform inscriptions and Ian Potter Museum of Art. The scenes in low relief. There is a replica exhibition features signifi cant plaster of the tablet of Shamash (sun-god) casts of original Near Eastern, describing the restoration of the Egyptian, Greek and Roman works sun-god’s temple. A series of panels that date from the 3rd millennium replicates, in plaster, sculptures BCE to the 2nd century CE. The which decorated the north palace at plaster reproductions featured Nineveh (north Iraq) of the Assyrian in Casts and copies refl ect the king Ashurbanipal; the originals are exactness and versatility of casting now in the British Museum. techniques. The exhibition also The Casts and copies exhibition demonstrates the variety of roles invites viewers to explore a range that plaster casts can play within of questions on the relevance of museums, investigating their use facsimiles in the digital age. A useful for the study and interpretation of function beyond just teaching and languages, literary sources, cultural research is that these reproductions and religious practices, government allow these antiquities to be and administrative systems, as well appreciated in multiple places around as artistic styles and techniques. the world. But one wonders: can Key works in the exhibition include these replicas evoke the same power Egyptian statuettes, Sumerian and response as the genuine article? fi gurines, the Black obelisk of Shalmaneser, a painted Acropolis The University of Melbourne kore, and two bronze-like metal cast collection portraits, of Hadrian and Claudius, The University’s collection of casts dating from the Roman period. largely owes its existence to three staff A number of the casts are inscribed— members and a generous bequest. many in cuneiform—such as a Jessie Webb (lecturer in ancient and reproduction of a tablet with part British history and sometimes acting of the Nabonidus chronicle, which professor, 1908–1944),1 and Cecil summarises historical events from Scutt (professor of classical philology Andrew Jamieson and Hannah Gwyther, ‘Casts and copies: Ancient and classical reproductions’ 47 Previous page: Reproduction of a gypsum votive Right: Reproduction of part of a base of a statue of a woman (Mesopotamia [southern Iraq], Pentelic marble funerary kouros with the early dynastic III period, c.2400–2000 BCE), ‘dog versus cat’ wall frieze (Greece, Athens, plaster, height: 22.1 cm. Reg. no. 0000.0731, Kerameikos, late 6th century BCE), Middle Eastern Studies Collection, University plaster, height: 29.0 cm. Reg. no. 0000.0912, of Melbourne Art Collection. The original resides. Classics Collection, University of Melbourne Art in the British Museum, London. Collection. The original resides in the National Archaeological Museum, Athens. from 1919 to 1955),2 were the leading By 1800, museums in Berlin, Paris, Barry’s trusteeship, managed to fi gures behind amassing the classical Vienna, Copenhagen, Munich acquire a classically-based collection cast collection in the 1920s, 1930s and Cork had all established cast of casts, that he intended to display and 1950s. Webb requested grants collections of famous and renowned at a museum of casts (which was to purchase ancient coins and casts statues from antiquity. The idea of a never realised).3 The large collection of statuary for teaching purposes. ‘museum of enlightenment’ became of casts of well-known Graeco- Scutt developed the collection using popular; to show accomplishments Roman works displayed at Swanston funds from the Sutton Bequest, of humankind from around the Street produced puzzlement and which was in memory of Hugh world, not bound to one nation or frustration,4 with Melbourne Sutton, a promising young classics civilisation. audiences preferring original works. student tragically killed in a motoring The 1851 Great Exhibition in By the late 19th century, cast accident in 1925. By 1929, Scutt Hyde Park did much to promote collections around the world had amassed a vast array of casts and the idea that a cast collection should had begun to fall from favour. artefacts. Though documentation form the basis and centre of all Contemporary artists were attracting is scant, it is possible to trace some comprehensive museums of art. attention, and the focus of collectors acquisitions, such as the purchase of The Victoria and Albert Museum and museums moved from the the Acropolis kore in December 1928 (V&A) in London followed this classical to the current. Many cast and the fi ve crates of casts donated trend and created a great Cast collections were relegated to storage by the Victoria and Albert Museum Court for reproductions. The V&A or sold, and displays of casts in in 1930. was instrumental in promoting the museums and galleries are now rare. The Middle Eastern studies cast production and international sharing In the case of Melbourne’s Public collection was largely established of casts of antique sculpture. Its fi rst Library collection, the casts were through the efforts of Professor John director, Henry Cole, initiated the largely dispersed during the 20th Bowman––appointed in 1959 to the ‘Convention for promoting universal century, to destinations including chair of Semitic studies—who played reproductions of works of art’ in the Royal Exhibition Building, the a crucial role in promoting the study 1867. Signed by the Prince of Wales Working Men’s College (now RMIT of the Middle East in Australia. He and 15 other European princes, it had University), several regional art created an extensive collection of the grand aim of sharing each nation’s galleries and sale by public auction.5 resources, including plaster casts, to prized artworks for the educational enhance teaching and research. good of all. The technical process In Australia, judge and of casting Cast collections and philanthropist Sir Redmond Barry A plaster cast is an exact replica taken Victorian taste (1813–1880) was intent on promoting from another object through the use In the late 18th century, museums cultural advancement in the colonies. of a mould. Various items can be cast began to commission and collect Between the years 1859 and 1862, including sculpture, architectural plaster casts for educational purposes. Melbourne’s Public Library, under elements, fossils or even a living 48 University of Melbourne Collections, Issue 8, June 2011 person. The art of plaster casting From the 16th century, plaster to study and witness artistic is generally believed to have spread casts had become common on the achievements. Renaissance and later from the East, and was used by the art market, and as such the quality Victorian ideas gave rise to renewed ancient Greeks and Romans. was not guaranteed. By the late 18th interest in the classics. However, as In the traditional casting process, century, a thriving business had quickly as cast collections came into the original was given a protective formed in Britain supplying casts of vogue, they became obsolete. Casts coating (usually beeswax mixed famous artefacts and sculptures to were dismissed in favour of ‘original’ with turpentine) and then plaster the wealthy nobility. It was only after artworks. The question now remains: would be applied in sections or the Copyright Act of 1798 that the what is the function and relevance of ‘piece moulds’, much like a jigsaw business became regulated. Plaster a cast collection? puzzle. When removed, a negative casting continues in the modern era Along with representing impression was formed. Plaster could and is utilised by many museums great works of art, casts provide then be pressed or poured in, and on around the world for producing security. Ultimately no museum can removal of the moulds, a replica of copies of popular original works. guarantee the safety of its artworks the original was revealed. The British Museum sells thousands absolutely. Threats of natural Plaster in its basic form is of replicas of the Rosetta stone disaster, war and theft are very real made from mixing the powder each year—in this context the cast problems that museums face. Casts created by roasting limestone with acquires souvenir status. provide security that the artwork various binding materials such as will never be truly lost. The replica sand, animal glue, hair and water. The role of cast collections can be displayed in place of the Traditionally, the hardest and Do replicas undermine the original? original, serve as a representative whitest plaster used for sculpting Questions such as this have plagued object in another country, or act as and manufacturing copies was stucco, museums since they fi rst began to use a substitute during conservation. At which is formed by mixing the lime casts to complement their collections. the University of Melbourne our cast obtained from burning marble or Reproductions were originally collection is studied by a diversity Roman travertine with pulverised collected by museums with the of students to enhance teaching marble and other ingredients. primary function of making artworks and learning in a wide range of Another variation of plaster which accessible to the whole world. With subjects including archaeology, is more liquid in form is gesso— the affordability and possibility of art history, classics, conservation, also known as plaster of Paris. travel so much greater in modern education, history, languages, and Gypsum is the main ingredient in times and the global digitisation of media and communication. Casts gesso and was traditionally found in collections, the relevance of casts has have never been used by museums the Montmartre district of Paris.
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