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^ m ic íU tíi-í M 4ju *u u Georg 'Zoeg^ Granifeotte/ Snr.  4 6 M a/: J : 1 0 . 1-10 G o t o : ÍQ J0 . 1 9 5 G 0 10 '20 SO 40 50 GO 10 80 QO tOOCM. R e o : 1 StQjjsartitetteji f kÀbenhüun fo r m '. 4 9 y G o . TT — 1 Bnhvtr tjeoestemtad, oom beskæftiges ved be> bandllagen af ncrvsrtnde ug« skal på ikedeD> DATOLISTE itåeode lista angive savn um t dato for legens modtagelse og viderMendetse. vedrørende ACC) Afgivet til: Z . Modtaget af Dato V id e re - Til Anmærkning sendt ^DSfNQENIØRENS DIRÉ K T O F A T **^*^*P FADSINGENIØRcNS DIRtKfO •AT/,/ stadsgartnerens kontor /n /'I ' ' ' Qj^ailrarkitekteoa 7 Uirektotat ^ X Erklæringen Se »ide 3 og 4. lVi<^» iV . ^ f? \\\\ _ UL»4b.lWt»# ------— ^ , . ErJc^irÄwri S« tt^ 3 og 4. S i a £ í i V , Til erklæringer: Pra stenhuggermester I. Schannong, som ved reguleringen af H.C. Andersens Boulevard nedtog soklerne for Carstens og Zoega, har man indhentet tilbud på genopstilling af monumenterne ved Glyptotekets sidefacader. Schannong tilbyder at genopstille disse for en sxam af ca. 34.000 kr,; hertil kommer til uforudselige udgifter og arkitekthonorar ca. 4.000 kr., således at de samlede udgifter ved genopsti 1?lingen andrager ca. 38.000 kr. Soklerne er meget komplicerede, og tilmed er navnlig sokkelen for Carstens stærkt medtaget af vejrliget og kræver store reparationer og uden tvivl fornyelse af de mesx forvitrede led. STAhSAEKITEKTENS DIREKTORAT, den 26. august I960, F.C. lund 1 K yf-'.- . ■ / J y / i. •'fy STADSINGENIØRENS DIREKTORAT rådhuset København v Dato ' o j nr 3 0 , TELEfON CEN-^PAL iS O O Siadsingv. eksp iokal SOS— S06 B- P journal toha) S23-554 F journal lokjl $19 3k a g l8trm t«Q 9 4« aifdelijag, ft. journal lokal $84 S.G. journal ickal TELEFON C.EN1RAL 1^.400 K. }ourn.*l iokal 4 'J L<-m V. jOumal lokal ?6 Te4r*t r«n «ad«Iigd opetilllns af aliidoaawrJceme for 7iOSga og Carotana, Bilag I »ia^letrataxi» datollata vairarand® »krlv«le« af 2. Juli 19S0 fra »tad(B&i*i£itakic«na dl^raktorat (mag. 17, ar. 145), Pra ctadeingsmlerme direktorat» sido haro iatet at tridTeiMl© laod doa 1 øtadaarlcitekt«»» skri vel»« af 2, Juli 1960 foreslf^ede pla- oarlng af aladeBo^rkerTka for ?-©»ga og Caratsue, Udglftame til flytning og ganepotllilng af de to »onaaeBtar andra*i,er - Jfr. etadsarJci tcktens direktorat» påta^pUng af 25. august 1950 på datolistan - kr, 3Ei.000. Udgifter til flytning af de øvrig« statuer på boulevarden Jiar Twr«t afholdt -pS kontoen for oalfiu^^ning af H. C. Anderesre Boulevard (tidliger« Vciitra Boulevard), og det laå »kenne« riuiolig?;, at ogeå o»- koetnln^ em« vod flytning af alndeBiaarkem« fer ?.oBga og Carotono af holde« Lerpi, Udgifterne vil herved blive opta^^et blandt da beløb, der til vejfonden anaeldee «<»si refueloneberettlgende, aen der vil allige vel i« Foul Vedel. j n'iJKjh.. /... -V 00 stadsark. dir. KØBENHAVNS MAGISTRAT TELF. CENTRAL 3800 Hovedjournal...... Lokal 405 4DE A FD E LIN G . R Å D H U S E T. A-journal...... 395 B-journal (byggesager) .. 433 . 434 . 435 . 436 20. oktouwv- G'journal...... 396 København V., d. H-Journal...... 402 . 403 M-journal ...... 432 P>journal...... 420 Bogholderiet...... 414 . 415 IV JOURNAL NR. Al liart&di'-i'epA'.ââü.itAtiQneii uodSÅtté udvalg v«idri Oa dc-u v«åtr« .íviuló.ard ü I.vv aalagr, -jpatiiloues ata- tuííi'i al' varsteiii. pa -iy.‘;v« forau i aí.l.igütt-L vea aiyptôteüeta ¡datra aida» uedeaa statuuxr a;' i august i-jy'ra ix.U;v depouei'et på otadalugeuid- r«i*a (iireictorats plació i Veralaxidagade ix-dtii ftvor Uexi uiav ap- «tllXev på prdvo 1 ¿ 3.-jaarua.lut ved ui/pc./cujceta vestre á L ú t , J fr, ved lagte SàCltae. ¿Pí^rgsiAálet O t pu.Miaxxeut g«u L . K a tru p ch. Ahrahaaaon crsvt ■■. : 2 Z é 4 1' < * Æ. y / C ii i ^ • ^C'^ß^'Cc^C-Ol^ ^ /^£íV> /J~€<^' (i-1 cP^C(Ct^Í4£ ^ ^OU^e^'ñ-l*:^riiléc-' AjtCt^i^ ^^\^tiUCj 0^1 fUcCu^ /JLc.di4tU (ij4 - i^iGí^ &i^i(cu^<£4(~^A^ft ArC/ / ÿ ^ ^ '^ c  e 'f^ 'Ú £0j ¿ ^ ¿? / ^ju^.y(4 tdÙe, c ie ^ íjei, je^< S<*«c Äy ÖO ^ / Át'^%,í 4á^uc OxaxÍa,^í ^^ tfik Clnii ^ __ %<^(j¿‘XJUt- ^ A«c^^í.4 ^^U*-^ú£t4^U4 ^JL- cr^ ~tiX-¿ícc^ t'i /k¿to'¿cCt^ Ç<3^^/.âv ^ V / t ^ 43íí<^€ju ÁÍoLe ^^^^fCAAA tciiiccyi, c?f jLtJUu/ ^^ruc^cíí^ c6 AccCí 4 ^CnyvéttcAe- ^ . <é. , Genpart til 1.arkitektkontor (arkitekt Pindsen) Fra etenbuggemaster !• Schaanong, aom vad ragultrlagaa af H.c. indaraans Boulavard nåd tog aoklema for Caratana og ZoSga» her iadhastat tilbud på gaoopatilliag af ao&uaaatama vad Glyptotekata Bidafaeadar* ScbannoBg tilbyder at genopetille diaaa for em sum af ca. 34*000 kr.i hertil komaar til uforudaalige udgiftar og arkitakthonorar ea* 4.000 kr., aåladaa at da eealada udgifter vad ganopatilliiagaa aadragar oa. 38.000 kr. doklama ar magat kovplioaradat og tilmed ar navnlig aokkalan for Carateaa atæxkt nedtaget af vejrliget og kraver atora reparationer og uden tvivl fomyelaa af da neat forvitrede led. STADBAKKITSKTEHE PIEIXTORAT, dan 26. auguet 1960. F«C. Lund Påtegning på datoliste med forespørgsel af 9, august 1960. / KØBENHAVNS MAGISTRAT TELF. CENTRAL 3800 Hovedjournal...... Lokal 405 4DE a f d e l i n g . Rå d h u s e t . A-journal...... 395 B-|ournal (b/ggesager) 433 . 434 . 435 . 436 lo* december X960. G'Journal...... 396 København V., d. H-Journal...... 402 . 403 M-journal ...... 432 P-journal ...... 420 ^^ogholderiet . 414 . 415 JOURNAL NR. Stadsarkitektens direktorat. BorgerrepvMwntationen har den 10. deoember 1960 tilskrevet BMglstraten såledeat "Ved hoslagt st freasende nogle eksenplsrer af betsaaknlng angående forskellige spørgsaiål, der hor været forelagt udvalget vedrørende omlægning a.v. af h.C. Andersens Boulevard skol men herved meddele« at borgerrepmeentatlonen 1 sit møde den @* d.n* hor tiltrådt den af itdvalget afgivne indstilling ssnt la^dekomaet udvalgets anmodning L* Kstrup A.C. Christensen A , 1 IV ’I 'i * I- ST«K.Din.A.i5i Æ 524. Betænkning angående forskellige spørgsmål, der har været forelagt udvalget vedrørende omlægning m. v. af H. C. Andersens Boulevard. Ved borgerrepræsentationens tiltrædelse den 21. april 1955 af en af udvalget vedrørende H. C. Ander sens Boulevard m. v. afgiven betænkning af 13. april 1955 fik udvalget — under hensyn til de på davæ rende tidspunkt resterende uafklarede spørgsmål ved rørende H. C. Andersens Boulevard, herunder også den fremtidige ordning af forholdene ved Østifternes Kreditforening — bemyndigelse til at fortsætte sit arbejde for senere på ny at afgive indstilling til bor gerrepræsentationen. I den siden afgivelsen af nævnte betænkning for løbne tid har udvalget dels behandlet og afgivet be tænkning om en fra borgerrepræsentationen oversendt sag vedrørende anbringelse af en skulptur af H. C. Andersen ved H. C. Andersens Boulevard (B. F. 1957 —58, s. 656—667) og dels af magistraten fået forelagt til drøftelse forskellige projekter, der berørte gade arbejderne i H. C. Andersens Boulevard, forinden magistraten afgav indstilling i disse sager til kommu nalbestyrelsen (som eksempler herpå kan nævnes forslaget om udformning af Jarmers Plads og omgi velserne for Østifternes Kreditforenings nye bygning og udformningen af en del af Gyldenløvesgade). STADGARK. DIR. A . Inden for det sidste halve år har udvalget end trafik jderved, at flere af de nuværende sporvejslinier videre fra magistraten fået forelagt to sager;" hvoraf på boulevarden krydser denne. den ene drejer sig om etablering af en ny endesta Magistraten har under samrådet oplyst, at spor tion for Amager-busserne på Rådhuspladsen, medens vejene netop er i gang med en trafikanalyse, hvorfor den anden refererer sig til spørgsmålet om den en det er magistratens opfattelse, at en diskussion om delige placering af statuerne af maleren A. J. Car disse problemer bør udskydes, indtil resultatet af stens og arkæologen Georg Zoëga. analysen til sin tid måtte foreligge. Vedrørende placeringen af Amager-bussernes ende Vedrørende statuerne af Georg Zoéga og A. J. Car station på Rådhuspladsen kan der i nær fremtid for stens har udvalget i en tidligere betænkning af 28. ventes fremsat et forslag for borgerrepræsentationen; juli 1954 taget til efterretning, at de pågældende min dette forslag er efter forhandlinger mellem magi desmærker blev prøveopstillet i arealerne på hver sin stratens 4. og 5. afdeling blevet udformet således, at side af Glyptotekets hovedfagade. Spørgsmålet om Amager-busserne fremtidigt vil få endestation på permanent genopstilling af statuerne har været for arealet bag Den lille Hornblæser. handlet med bestyrelsen for Ny Carlsberg Glyptotek. Udvalget har i øvrigt med magistraten drøftet an I overensstemmelse med Glyptotekets ønsker har dre trafikale spørgsmål vedrørende Rådhuspladsen, magistraten derefter ved skrivelse af 20. oktober 1960 herunder de muligheder, der måtte være for at føre over for udvalget fremsat forslag om, at de pågæl den ligeud-kørende trafik ad H. C. Andersens Boule dende monumenter får deres endelige placering mod vard over Rådhuspladsen gennem en biltunnel. Ud Tietgensgade og Niels Brocks Gade foran sidefaga- valget har endvidere peget på betydningen af, at den derne af Glyptotekets hovedbygning på de tomme stadigt voksende fodgængertrafik på Rådhuspladsen midterpladser mellem Meuniers og Dalous arbejder blev ført under kørebanerne ad adgangsveje med rul figurer. lende trapper, der hurtigt og effektivt kan hjælpe Statuernes sokler er en del medtaget af vejrliget, fodgængerne fra gade til gade, uden at den kørende og det er nødvendigt at foretage reparationer samt trafik generes. En sådan underjordisk fodgænger fornyelse af de mest forvitrede led. Udgifterne til gade, der eventuelt kunne udformes med butikker og flytning og genopstilling af de to monumenter, i alt kiosker, kunne f. eks. placeres mellem Vesterbrogade 38,000 kr., kan i lighed med udgifterne til flytning af og Frederiksberggades hjørne. de øvrige statuer på boulevarden afholdes på kontoen Magistraten har under samrådet oplyst, at man var vedrørende omlægning af H. C. Andersens Boulevard. sympatisk indstillet over for disse projekter, og at På det foreliggende grundlag skal udvalget her man arbejdede med planer på dette område. efter indstille, at statuerne af Zoéga og Carstens får Endelig har udvalget rejst spørgsmålet om en mu deres endelige placering i overensstemmelse med ma lig ændring af de nuværende sporvejslinier på H. C. gistratens forslag. Andersens Boulevard med henblik på en afhjælpning Endelig anmoder udvalget om bemyndigelse til at af de gêner, som fremkommer for den individuelle fortsætte sit arbejde for fortsat at blive holdt orien- teret og om muligt inddraget i overvejelser og drøf telser af problemer i forbindelse med H. C. Andersens Boulevard, herunder f. eks. også spørgsmålet om en mulig ændring af sporvognenes og bussernes nuvæ rende linieføring. København, den 29. november 1960. Jørgen Bundvad. Disa Christjansen. Axel Clausen. Edvin Dose. Flemming Grut. Bjørn Møller. Carl Petersen. Ove Petersen. Karl Max Rasmussen. Børge Schmidt, Helyett Simonsen. formand og ordfører. Til borgerrepræsentationen. C n '( & £ 4 - ^ {tu » i «î^ li.. y ¿4 *‘íííA^/^ «OiÈg J ( i^j i t ^ ^ tf} Cx.«^í / / 2 j t ù ^ ^ í á a U m ^ ^ 2 . 5- ^ A jd M r 2 . 1 f i ^ ~ ^ /^í«v ^ e-'Âjt-vcx.i-zru.^ Vi - é/ ^ 1 - l( V t /li 6ô"0^<^ % - 6 / y. ^ctuUjMefic^ 2. ^ ¡ 1 2 . &,OVC,ok (è^A-îticcK ) n z H , ‘ t n , n Z o ^ ç ü 0 3 ¿ a r Q t e n s 1962 ( y ^ / z 6>Z/ t/j '\ n y NY CARLSBERG GLYPTOTEK DANTES PLADS DIREKTØREN KØBENHAVN V. VP/PS 1. Februar 1962 ^€.4-. CL i Kære Hr. Stadsarkitekt, Da ZoSga og Carstens nu har fundet deres blivende Sted, ser vi dem for god Ordens Skyld gerne forsynede med Metalskllte ligesom de andre Skulpturer 1 Anlægget omkring Glyptoteket. Der er jo blot den Forskel, at de to sidst flyttede Statuer er Kommu nens Ejendom. Jeg spørger Dem derfor, om vi maa lade saadanne Skilte udføre hos Broncestøber Rasmussen, paa den Maade vi plejer, og sende Dem Regningen. Med venlig Hilsen Deres hengivne ( 9 Hr. Stadsarkitekt F.C.Lund DAGMARHUS R-a V. STADm OÄ E . y /V ! ^ /I U i l U C C ly , ^ ( j .:. é j (■ ¡ Y ' * ‘ ■ "f•'-"^' ^ ^ ^ ■■ f ' / i I C cy^Q M i^ i i <:, - 'íí. -'-■(k'.y-, o^ííC í ^ - ^ t k » oA I (i/ßt C'Tt- U. e.Ii ^ ./Wt.»'”^^t-'t,.^: •! yp ^ ^ ' ¿ ^ 0 ^ t - ....I. 'v> /Ok- /> /? ir„ / / C£¿tí,Cct*<< ' -iw Çné'^'A h k i i '¿'^ ,. I,., .-• ___ p.toA'AS-'' • Íí¿ , ' í-'^ i I ^.•¿¿i-tt-i,«,».^ -t. 4.^^- * <1 ^ f\3 AO-ty^ 't.^ "j f ^ . («'vA-Ô.-t /ui *^.-«l«i.i t.f ■<* t (fiJ.tCIt.'^ *. O 7 a ** / k , "St . /ti f - / ^ r ' !( tj(J>i'k^,^e i7í-í0'tu¿./s! AH?*! i»0:.t/y"ií’«-Xíty'. ** ^ ^ f 0.^ A»< /rø2i«t ¡i-'^jmd-- i l i iïtTï-j A,,ï J _____1 _ _ o i^ ïio - :-«A<.c»y V if 72-^0 Del dit foto af København pé Instagram med #MXKBH - *1 kan dit billede havne I avl- The Forgotten Scholar: Georg Zoega (1755-1809) At the Dawn o f Egyptology and Coptic Studies Edited by Karen Ascani, Paola Buzi and Daniela Picchi J ^ < ✓ S BRILL LEIDEN BOSTON This is a digital offprint for restricted use only | © 2015 Koninklijke Brill NV VIII CONTENTS Zoéga and Numismatic Studies 9 Zoéga studente di numismática. II soggiorno a Vienna (1782) e i contatti con Joseph Eckhel 101 Daniela Williams and Bernhard Woytek 10 Zoéga, pionnier de la numismatique alexandrine 111 Laurent Bricault Zoëga and the Origins ofEgyptology 11 On the Origins of an Egyptologist 123 Thomas Christiansen 12 In visita alla ‘Grande Galleria’: I’antico Egitto a Firenze 132 Maria Cristina Guido tti 13 The Egyptian Antiquities in Bologna and Venice at Zoéga’s Time 140 Daniela Picchi 14 Georg Zoéga and the Borgia Collection of Egyptian Antiquities: Cataloguing as a Method 151 Rosanna Pirelli and Stefania Mainieri 15 A Concealed Attempt at Deciphering Hieroglyphs 160 PaulJohn Frandsen 16 “Covered with the Rust of Egyptian Antiquity”: Thomas Ford Hill and the Decipherment of Hieroglyphs 174 Patricia Usick 17 De origine et usu obeliscorum: Some Notes on an Eighteenth-century Egyptological Study 185 Emanuele M. Ciampini This is a digital offprint for restricted use only | © 2015 Koninklijke Brill NV CONTENTS IX Zoëga and the Origins of Coptic Studies i8 Gli studi copti fino a Zoëga 195 Tito Orlandi 19 Chénouté et Zoëga : l’auteur majeur de la littérature copte révélé par le savant danois 206 Anne Boud’hors 20 The Catalogus codicum copticorum manu scriptorum qui in Museo Velitris adservantur. Genesis of a masterpiece 216 Paola Buzi Zoëga and Rome 21 II collezionismo di orientalia nella Roma di Pio vi 227 Beatrice Palma Venetucci 22 Georg Zoega e gli scavi nel territorio laziale 237 Beatrice Cacciotti 23 Friederike Brun, Elisa von der Recke and Georg Zoega: Members of the ‘ Universitas o f Rome’ 248 Adelheid Müller Index 259 This is a digital offprint for restricted use only | © 2015 Koninklijke Brill NV CHAPTER 7 An Antiquarian Depicted. The Visual Reception of Georg Zoega Anne HasLund Hansen The paradox of being forgotten is that one must first be remembered. What is not in some way or another remembered will not be forgotten. In this chapter, I will discuss the visual reception of Zoega.^ The portrait as a genre is documen tation and remembrance, but also interpretation. Although we may have a ten dency to focus on those images that come closest to an actual representation of a self-fashioning Zoega, the posthumous portrait is equally important— if indeed we are concerned with precisely how Zoega has been remembered. Together these images draw a meandering line of the shifting perceptions of Georg Zoega, spanning almost a century and a half. In an article from 1904 about portraits of Zoega, the Danish man of letters Frederik R. Friis suggested that renderings of Zoega had perhaps once been more numerous.^ To Friis, Zoega’s high scholarly standing and his many art ist acquaintances stood in strange contrast to the very few known portraits of him. This presumption perhaps owes more to what characterized the cul ture of late eighteenth-century Rome, than to anything biographical. At least it speaks against what 0jvind Andreasen has remarked about Zoega, namely that he disliked being portrayed.^ Friis’s remark is interesting however as it suggests a visual absence— that something about the person Zoega is missing or wanting. The artistic portrayals of Zoega discussed here fall into three groups: con temporary portraits, posthumous renderings and finally portraits later identi fied as depictions of Zoega."^ This paper owes part of its inspiration to Janet Browne’s study on depictions of Charles Darwin, where she discusses the role Victoria Gordon Friis, arca, kindly revised and improved the English draft. F.R. Friis, Kulturhistoriske Studier, i, (Kjøbenhavn: G.E.C. Gads Universitetsboghandel, 1904), 1-2 (“Portræter af Georg Zoega og nogle Breve fra ham og til ham”). Stated in museum register regarding inv. n. A 7455. Museum of National History, Frederiksberg Castle. I am indebted to Søren Mentz. For images not discussed here see: Dansk Biografisk Leksikon, x vi, (København: Gyldendal, 1984), 162. KONINKLIJKE BRILL NV, LEIDEN, 2015 | DOI 10.1163/9789004290839_009 This is a digital offprint for restricted use only | © 2015 Koninklijke Brill NV ?8 HASLUND HANSEN of images in the construction of an individual’s “scientific reputation” and in the “making of renown”.^ Contemporary Portraits The earliest knovm depiction of Zoega— at the age of about 30— is a painting in profile by the Danish artist Johan Herman Cabott (1754-1814).® In a letter from 1786, Zoega mentions sitting for Cabott, and he remarks that the artist was a gifted portrait painter.’’ Despite the fact that this portrait is perhaps the most true-to-life painting of Zoega, it has never been widely known or reproduced.® The painting is one of 22 portraits of members of the Accademia Volsca, a learned society founded by Cardinal Borgia in 1765, modelled on the Accademia Etrusca in Cortona.® Several Danes were counted among its members. The por traits originally formed part of the library of Cardinal Borgia and are now the property of Congregazione per I’Evangelizzazione dei Popoli in Rome.’® The Accademia Volsca paintings are all designed in a similar fashion. The sit ter is shown with only the head and shoulders visible. The shape of the paint ings is that of a medallion. This type of collective portraiture draws on formats and traditions already established in antiquity. As a genre, such series of por traits (mostly of illustrious men) touch on two important elements in connec tion with remembrance: namely selection and connectedness. The emphasis of the portrait is not its subject alone but also on the subject’s inclusion in a particular commemorative context, in this case Zoega in the role as a Borgia protegee. J. Browne, “Looking at Darwin. Portraits and the Making of an Icon", Isis 100.3 (2009), 542 and 570. A. Germano, M. Nocca (a cura di), La Collezione Borgia. Curiosita e tesori da ogni parte del mondo, (Napoli: Electa, 2001), 282-283; K. Ascani, “Kardinalens kuriositeter”, Sfinx 24 (2001), 166-171, n. 4. 1 thank Karen Ascani for these references. Dated 3.11.1786. 0 . Andreasen, K. Ascani (hrsgg.), Georg Zoega. Briefe und Dokumente, ll, (Kopenhagen: Gesellschaft für dänische Sprache und Literatur, 2013), 131, n. 313. The paint ing is dated 1787 and the letter also indicates that Zoega had not yet seen the finished result. 8 The portrait adorns the recently published volumes of Andreasen, Ascani, Georg Zoega. 9 M. Stuiber, Zwischen Rom und dem Erdkreis. Die gelehrte Korrespondenz des Kardinals Stefano Borgia {1731-1804), Colloquia Augustana 31, (Berlin: Akademie, 2012), 121 and 333-338. 10 Inv. n. PF 365. This is a digital offprint for restricted use only | © 2015 Koninklijke Brill NV AN ANTIQUARIAN DEPICTED 79 The contribution by Friis from 1904 focuses on the portraits of Zoega made by Bertel Thorvaldsend’ The role of Zoega as a mentor for Thorvaldsen is well known. Their friendship resulted in four drawings from the hand of Thorvaldsen, depicting Zoega at the age of about fifty. These are all held in the Thorvaldsens Museum: inv. n. Cygv, Zoega with Wilhelm von Humboldt (date: 1804-1805);^^ inv. n. C66r, two sketches, profile view and caricature with horns (date: 1805); inv. n. CyGir, profile view in medallion (date: 1809); inv. n. C762, profile view (date: 1811-1813).^^ Thorvaldsen’s images of Zoega were copied and used continuously. In par ticular the profile view in medallion from 1809 came to be more or less syn onymous with Zoega depicted. It formed the basis for the portrait in Visconti’s Ritratto di Giorgio Zoega Danese (n.d.), Welcker’s Zoega’s Leben (1819) and oth ers. It is a depiction which stays true to Zoega’s person. However, it is also ide alizing and evasive in nature. This is to some extend characteristic for all the contemporary portraits of Zoega. Posthumous Portraits The volumes Serie di vite e ritratti de fam osi personaggi degLi ultimi tempi, 1815- 1818, were intended as an educational journey through famous people of the world. A little more than three hundred individuals are mentioned, each with a portrait and a brief b i o g r a p h y . engraving of Zoëga is by the artist Sergent- Marceau (1751-1847) and shows him seated at a desk, studying some coins with a magnifying glass. This work is an iconic representation, rather than an actual portrait, drawing on conventional perceptions of the antiquarian figure, such as the rendering in Louis Jobert’s La Science des Médaillés from 1739. Originating from works like Vasari’s Le Vite from the mid-sixteenth century, such books of “famosi” represent a codification of certain biographies. The 11 The contribution by Friis was based on A. Michaelis, “Thorvaldsen und Zoega”, Zeitschrift Ju r bildende Kunst 2,^ [=N.F. 14] (1903), 193-196. 12 For an interpretation of the motif see F. Thomasson, The Life ofJ.D. Åkerblad Egyptian Decipherment and Orientalism in Revolutionary Times, (Leiden - Boston: Brill, 2013), 313, fig- 52- 1.S The drawings can be accessed at thm a, http://www.thorvaldsensmuseum.dk/en/ collections. 14 For Zoega, see volume 2 (Milano: presso Batelli e Fanfani, 1818), unpaginated. Zoega’s entry is preceded by Samuel Johnson and followed by Laura Bassi. This is a digital offprint for restricted use only | © 2015 Koninklijke Brill NV 8o HASLUND HANSEN genre truly flourished from the late eighteenth century onwardsd^ In these publications a visual and a written portrait had become two essential com ponents. Viewing a portrait was considered a vital part of remembering a per son even though, as pointed out by Draper, the portraits themselves could be rather nondescript.^® In 1909 one-hundred years had passed since the death of Zoëga. To mark the occasion a “Mindefest”— a commemorative celebration—was held at the University of Copenhagen, with speeches by classical philologist Anders Bjørn Drachmann and Egyptologist Hans Ostenfeld Lange. Within the auspices of the university, such commemorative events were by no means customary.^^ The initiative came from the brewer Carl Jacobsen (1842-1914), founder of the Ny Carlsberg Glyptotek and a figure of the outmost importance in Danish cultural life at the time. A clay model was on display at the celebration.^® This was a preparatory step in the making of the large bronze sculpture of Zoëga, which is now placed alongside the northwest façade of the Ny Carlsberg Glyptotek (fig. 7.1). Almost four meters high, it is the most imposing image of Zoëga (or any other Danish antiquarian!) ever made but it has hitherto received little scholarly attention. The finished sculpture was set up in 1911 as a public monument donated to the city of Copenhagen by Carl Jacobsen. The artist was Ludvig Brandstrup (1861-1935), whom the brewer had previously employed. Brandstrup was trained in the neoclassical style but was later influenced by French naturalism. The statue shows Zoëga doing his characteristic fieldwork, which many of his contemporaries had witnessed or participated in.^® He is shown sitting on a tree stump with his brimmed hat lying casually on the ground. In his out stretched hand he holds up a small figurine, seemingly an antiquity discovered on the spot. This type of rendering— where the sitter appears as if caught in a ‘spirited’ moment—was a favoured model in contemporary art.^® 15 See for instance R. Nyerup, Samling a f fortjente danske Mænds Portrætter med biografiske Efierretninger, i-iii, (Kiøbenhavn: G.L Lahde, 1797-1802). 16 J.D. Draper, “Thirty famous people. Drawings by Sergent-Marceau and Bosio, Milan, 1815- 1818”, Metropolitan Museum Journal 13 (1978), 113. 17 A.B. Drachmann, Udvalgte Afhandlinger, (Kjøbenhavn - Kristiania: Gyldendal Nordisk Forlag, 1911), 215 and 231 (“Georg Zoéga”). 18 Letter from Brandstrup to Carl Jacobsen, 29.4.1910. By kind permission of Ny Carlsberg Glyptotek. Two models exist: Ny Carlsberg Glyptotek, inv. n. i .n. 1735 and Hirschsprungske Samling, inv. n. 4043. 19 A.D. Jørgensen, Georg Zoega. Et Mindeskrifi, (BCøbenhavn: Samfundet til den danske liter- aturs fremme, 1881), 132-133. 20 EJ. Bencard, “Generationen uden egenskaber", in Afmagt. Dansk billedhuggerkunst 1850- 1900, (København: Thorvaldsens Museum, 2002), 9-35. This is a digital offprint for restricted use only | © 2015 Koninklijke Brill NV AN ANTIQUARIAN DEPICTED 8l The figurine in Zoega’s hand is not, as could perhaps be expected, in the Egyptian style. As noted by Bencard and Friborg, it is rather a piece alluding to ancient Greece.^^ My recent observations of the sculpture support this interpre- tation.22 -phe frontal body position, slanting eyes and smile suggest an archaic kore (fig. 7.2). Brandstrup had already used a similar model in 1905 for a sculp ture entitled Morning— here perhaps to express a conceptual link between dawn and early sculpture.^s Brandstrup’s use of the archaic style aligns well with contemporary trends in artist circles, where alternatives to the traditional classical models were sought for. In France, the salon culture had developed a particular fascination with the tanagra figurines, epitomized in the sculpture Tanagra, 1890 byJean-Leon Géróme.^^ The Danish artists Joachim Skovgaard (1856-1933) and Jens Ferdinand Willumsen (1863-1958) also deserve mention in this context. It yet remains to be determined whether or not Brandstrup had any bio graphical motivations for choosing this particular figurine but some sugges tions can be made. The archaic can be seen as a transition between the Egyptian and the classical style, an aspect which ties well with Zoega’s scholarly inter ests. Secondly, the figurine has the appearance of an authentic, archaeological ‘specimen’. This could, tentatively, be interpreted as a reference to Zoega’s well- established reputation as “the great founder of scientific archaeology”— as he was described in 1909.^^ Throughout its history, this statue of Zoega has formed an active part in the Copenhagen cityscape. In order to understand how it was originally perceived by the public, it is necessary to consider its historical context and the spatial layout of its surroundings. The present position of the statue is secondary, the result of a major mod ernization in the 1950S.2® The original setting chosen for the statue in 1911 was 2 1 EJ. Bencard, F. Friborg, Danish sculpture around igoo, (Copenhagen: Ny Carlsberg Glyptotek, 1995), 70. 22 1 wish to thank the Ny Carlsberg Glyptotek for facilitating access to the statue. 23 J.S. Østergaard, “Semper Ardens: Facaden af Hack Kampmanns bygning til Glyptotekets antikke samling”, aigis Supplementum 1: Festskrift til Gorm Tortzen (2011), 6. (http:// aigis.igl.ku.dk/CGT/Jan_Stubbe.pdf). 24 Tanagra. Mythe et archéologie, (Paris: Réunion des Musées Nationaux - rm n, 2003), 36-65. 25 “den store Grundlægger af Arkæologien som Videnskab”, F. Poulsen, “Georg Zoëga”, Ord och Bildx v iii (1909), 539. 26 For the statue in its present position see: http://kk.sites.itera.dk/apps/kk_monumenter/ index.asp?lang=uk&mode=detalje&id=8i. This is a digital offprint for restricted use only | © 2015 Koninklijke Brill NV 82 HASLUND HANSEN far from random. It was near the front of the entrance to the Ny Carlsberg Glyptotek and vis-à-vis a statue of the Danish-German painter Asmus Jakob Carstens (1754-1798).^'^ This sculpture, made in 1880 by artist Theobald Stein, was also a donation from Carl Jacobsen to the City of Copenhagen.^® Carstens, who was an acquaintance of Zoëga, had similarly served as a source of inspi ration for Thorvaldsen. The two statues then faced each other— painter and scholar— united by their Roman legacy and their influence on Thorvaldsen. However, the geographical origin of the two men must also be considered. In his speech at the commemoration, Drachmann strongly emphasized Zoëga’s patriotic sentiments and his “Danishness”.^® Zoëga was born in Møgeltønder and Carstens in Schleswig [Slesvig]. Both towns were situated in the southern part of Denmark that had been lost in the traumatic Second Schleswig War in 1864 and only partly returned by a referendum shortly after the First World War.®° Thus, in 1880 when the statue of Carstens was finished, and in 1910 when the sculpture of Zoëga was completed, both men originally born in Denmark now— since 1864— appeared as born in Germany. The statue of Carstens was, in Carl Jacobsen’s own words, a deliberate act of spite— done in order to reclaim Carstens from the Germans.®^ The commem oration of Georg Zoëga is very likely to be motivated by similar sentiments. Assuredly, the question of the Southern borderland permeated the public debate at the time, and feelings of loss and despair were abundant. The Danish critic Georg Brandes (1842-1927) wrote about this loss in “The Importance of Southern Jutland for Danish Culture”. Carstens and Zoëga are both mentioned here, and their role as mentors for Thorvaldsen is emphasized.®^ The statues of Carstens and Zoëga were prominently situated. The area around the Ny Carlsberg Glyptotek was part of the new expansion of the city— outside the medieval walls. Modelled on the urban development in Paris and in Vienna of the fin de siècle, the area was characterized by new public buildings 27 “I anledning af 100-året for Zoégas død kunne man opstille hans statue vis-a-vis Carstens.” Minutes, board meeting, Ny Carlsberg Glyptotek, 10. sept. 1908. I owe this reference to Mette Moltesen. 28 In its early years the statue stood at Jacobsen's house in Valby. The brewer had envi sioned the statue to be placed by Thorvaldsens Museum but due to critical voices this idea was abandoned. H.E. Nørregård-Nielsen, Ny Carlsbergfondet igo2-2002, (København: Gyldendal, 2002), 84 and 87-88. 29 Drachmann, “Georg Zoega”, 231. 30 The referendum returned Møgeltønder to Denmark while Schleswig remained German. 31 Nørregård-Nielsen, Ny Carlsbergfondet, 87-88. 32 G. Brandes, Samlede Skrifter, x ii, (Kjøbenhavn: Gyldendalske Boghandels Forlag, 1902), 247-249 (“Søndeqyllands Betydning for dansk Kultur, 1901”). This is a digital offprint for restricted use only | © 2015 Koninklijke Brill NV AN ANTIQUARIAN DEPICTED 83 and broad boulevards. Sculptures and monuments were an integral part of such European cityscapes, with their emphasis on nation building, democratic values and education of the public.^^ The statues of Carstens and Zoega were included in the grounds of the Vestre Boulevard (now H.C. Andersens Boulevard), a broad and tranquil space with gardens in the middle. The area was a favored spot for promenading.^'^ In the 1950S the design of the cityscape was fundamentally altered. Vestre Boulevard was transformed into a multi-lane carriageway leading to the island of Amager. Most of the gardens were demolished and statues had to be removed. In 1954 the statues of Carstens and Zoega were placed on either side of the Glyptotek buildings and could no longer be viewed simultaneously.^^ Had the Danish loss of 1864 given meaning to the remembrance of Carstens and Zoega, the shadows cast by the Second World War, in turn, had decisively caused such meaning to fade away. One of the latest known depictions of Zoega is a painting from 1919 by Valdemar Neiiendam (1870-1956) entitled Thorvaldsen at the deathbed o f Zoega.^^ From about 1907 Neiiendam began specializing in paintings of his torically important Danes, and his production within this genre was prolific.^'^ Neiiendam was a late representative of the genre of history painting. Bordering on the trivial and the nostalgic, his works are recreations of pivotal moments in history. True to the format of history painting, the importance is not so much directed at portraying the individual, but on the ideas and the historical continuity represented in the subject. The deathbed is a potent and archetypical motif in art. In Neiiendam’s ver sion the emphasis is on the interrelation between Zoega and Thorvaldsen. The artist sits at the side of Zoega’s bed, his gaze attentively directed at the dying man, as if the spirit is to be passed on from one to another. Conceptually, 3 3 Carl Jacobsen also instigated a fund for sculpture in the public realm, the Albertina Foundation, in 1879. 34 B. Bramsen, C. Jørgensen, København. Før, nu— og aldrig, ix, (København: Palle Fogtdal, 1990), 456-472. 3 5 Betænkning [...] vedrørende omlægning m.v. a f H.C. Andersens Boulevard, 29. November i960. Jens Peter Munk, Keeper of public monuments. City of Copenhagen, kindly facili tated this information. 36 Ribe Kunstmuseum, inv. n. rkm 142. I would like to thank Jan Gorm Madsen for assis tance. Little has been written about Neiiendam’s life and work. See Weilbach. Dansk Kunstnerleksikon, VI, (København: Munksgaard - Rosinante, 1997), 79-80 for references. For the painting see: https://www.kulturarv.dk/kid/VisVaerk.do?vaerkId=207098. 3 7 A list of Neiiendam’s works from 1894 to 1944 can be found in H. Chr. Christensen, Fortegnelse over Billeder malet a f Valdemar Neiiendam 1894-1944, (Helsingør, 1944). This is a digital offprint for restricted use only | © 2015 Koninklijke Brill NV AN ANTIQUARIAN DEPICTED 8 5 found in Tischbein’s famous Goethe in the Campagna from 1787. The absence of any conclusive biographical features is again notable. The identification of the painting as a portrait of Zoëga has been argued by Hartmann.'^^ These recovered portraits associated with Zoëga primarily testify to a Zoëga remembered and to the role of the image in this process. Both paintings set Zoëga in an inspiring and suggestive ambience, which is not found in the images by Cabott and Thorvaldsen. This was, and is, decisively part of their attraction, yet the story they might tell remains amputated because of the lack of historical verification. Georg Zoëga, the unwilling subject, has a long history of being depicted. A history which is both surprisingly typologically varied and complex, ranging from contemporary satire, heroic profiles, recovered images to political propa ganda and romantic nationalism. Much of Zoëga’s visual history is interwoven with that of his protégé Bertel Thorvaldsen, and it might be worth exploring if their history of being remembered by posterity is perhaps comparable. Today Zoëga is best known as a pioneering scholar within the field of early Egyptology, and his burning interest in this subject is well attested elsewhere in this volume. This aspect is entirely absent in the visual rendering of him. FIGURE 7.1 Statue of Georg Zoega by Ludvig Brandstrup, igw, in its original setting. Used postcard {by Alex. Vincent’s Kunstforlag)Jrom c. iggS. Property of the author. 43 J-B- Hartmann, “Appunti su Giorgio Zoega e Carlo Labruzzi”, Studi Romani 24.3 (1976), 352-368. E. di Majo, B. Jomaes, S. Susinno, Bertel Thorvaldsen 1^/0-1844, scultore danese a Roma, (Roma: De Luca, 1989), 144, Fig. 10. This is a digital offprint for restricted use only | © 2015 Koninklijke Brill NV 86 HASLUND HANSEN FIGURE 7.2 Statue of Georg Zoega by Ludvig Brandstrup, igw. Property of the City of Copenhagen. Detail of figurine. Photo: Anne Haslund Hansen. This is a digital offprint for restricted use only | © 2015 Koninklijke Brill NV