Plaster Casts

Making, Collecting and Displaying from Classical Antiquity to the Present

Edited by Rune Frederiksen and Eckart Marchand

De Gruyter Table of Contents

Preface XI

Rune Frederiksen and Eckart Marchand Introduction 1

Antiquity

Rune Frederiksen Plaster Casts in Antiquity 13

Christa Landwehr The Baiae Casts and the Uniqueness of Roman Copies 35

The Renaissance

Eckart Marchand Plaster and Plaster Casts in Renaissance Italy 49

Walter Cupperi

"Giving away the moulds will cause no damage to his Majesty's casts" - New Documents on the Vienna Jiingling and the Sixteenth-Century Dissemination of Casts after the Antique in the Holy Roman Empire 81

Martin Biddle

"Makinge of moldes for the walles" - The Stuccoes of Nonsuch: materials, methods and origins 99

Making and Distribution from the Eighteenth to the Twentieth Century

Charlotte Schreiter

"Moulded from the best originals of Rome" - Eighteenth-Century Production and Trade of Plaster Casts after Antique Sculpture in Germany 121

Jan Zahle

Laocoon in Scandinavia - Uses and Workshops 1587 onwards 143 VI Table of Contents

Peter Malone

How the Smiths Made a Living 163

Artists' Academies

TOMAS MACSOTAY Plaster Casts and Memory Technique: Nicolas Vleughels' display of cast collections after the antique in the French Academy in Rome (1725-1793) 181

Claudia Sedlarz

Incorporating Antiquity - The Berlin Academy of Arts' Plaster Cast

Collection from 1786 until 1815: use and acquisition, interpretation .... 197

Elizabeth Fuentes Rojas Art and Pedagogy in the Plaster Cast Collection of the Academia de San Carlos in Mexico City 229

Artists' Workshops

Leon E. Lock Picturing the Use, Collecting and Display of Plaster Casts in Seventeenth- and Eighteenth-Century Artists' Studios in Antwerp and Brussels 251

Johannes Myssok Modern in the Antonio Canova and Sculpture Making: plaster casts .... 269

Matthew Greg Sullivan

Chantrey and the Original Models 289

Jean-Francois Corpataux Live Body Moulding and Maternal Devotion in Marcello's Studio 307

Sharon Hecker Shattering the Mould: Medardo Rosso and the poetics of plaster 319

Maria Elena Versari

"Impressionism Solidified" - Umberto Boccioni's Works in Plaster and the Definition of Modernity in Sculpture 331

Sue Malvern

Outside In: the after-life of the plaster cast in contemporary culture 351 Table of Contents VII

Jane McAdam Freud

Inside Out: a process for production 359

Conservation

Daniela Arnold, Torsten Arnold and Elisabeth Ruber-Schutte The Plaster Decoration of the Choir Screens in the Church of Our Lady in Halberstadt: a current conservation project 369

Angeles Solis Parra, Judit Gasca Miramon, Silvia Viana Sanchez and Jose Maria Luzon Nogue The Restoration of Two Plaster Casts Acquired by Velazquez in the Seventeenth Century: the Hercules and Flora Farnese 385

Maria Kliafa and Michael Doulgeridis The Contribution of Plaster Sculptures and Casts to Successful Conservation Interventions at the National Gallery of Greece, Athens . .. 403

Architectural Models and Collections after Gems

Valentin Kockel Plaster Models and Plaster Casts of Classical Architecture and its Decoration 419

Daniel Graepler A Dactyliotheca by James Tassie and Other Collections of Gem Impressions at the University of Gottingen 435

Claudia Wagner and Gertrud Seidmann

A Munificent Gift: cast collections of gem impressions from the Sir Henry Wellcome Trust 451

Casting Nations: The National Museum

Diane Bilbey and Marjorie Trusted

"The Question of Casts" - Collecting and Later Reassessment of the Cast Collections at South Kensington 465

Malcolm Baker

The Reproductive Continuum: plaster casts, paper mosaics and photographs as complementary modes of reproduction in the nineteenth-century museum 485 VIII Table of Contents

Axel Gampp Plaster Casts and Postcards: the postcard edition of the Musec de Sculpture Comparee at Paris 501

Dana Stehlikova More Valuable than Originals? The Plaster Cast Collection in the National Museum of Prague (1818-2008): its history and predecessors 519

Tobias Burg

Building a Small Albertinum in Moscow: the correspondence between Georg Treu and Ivan Tsvetaev 539

Stephen L. Dyson Cast Collecting in the United States 557

Ian Cooke Colonial Contexts: the changing meanings of the cast collection of the Auckland War Memorial Museum 577

Display and the Future of Plaster Casts

Helen Dorey Sir John Soane's Casts as Part of his Academy of Architecture at 13 Lincoln's Inn Fields 597

Alessandra Menegazzi The Museum as a Manifesto of Taste and Ideology: the twentieth-century plaster cast collection of archaeology and art at the University of Padua 611

James Perkins

Living with Plaster Casts 627

Bernard van den Driessche Le jardin des platres: un autre regard sur les collections de moulages The Garden of Plaster Casts: a different view on cast collections 635 Table of Contents LX

List of Contributors 651

List of Figures 659

List of Colour Plates 685

Colour Plates 691

Index of Names and Places 727

Subject index 745 List of Figures

1.2. Head of Akhenaten. Mid fourteenth century BC. Plaster, h: 21 cm. From Amarna in Egypt. Agyptisches Museum, Berlin, inv. 21355. Re¬ produced with permission of the Agyptisches Museum SMB. Photo: Margarete Busing.

1.3. Head of Nefertiti. Mid fourteenth century BC. Plaster, h: 25.6 cm. From Amarna in Egypt. Agyptisches Museum, Berlin, inv. 21349. Repro¬ duced with permission of the Agyptisches Museum SMB.

1. 4. Head of an old woman. Mid fourteenth century BC. Plaster, h: 26.7 cm. From Amarna in Egypt. Agyptisches Museum, Berlin, inv. 21261. Re¬ produced with permission of the Agyptisches Museum SMB. Photo: Jtirgen Liepe.

1.5. Head of a man. Mid fourteenth century BC. Plaster, h: 27 cm. From Amarna in Egypt. Agyptisches Museum, Berlin, inv. 21350. Repro¬ duced with permission of the Agyptisches Museum SMB. Photo: Margarete Busing.

1. 6. Bust of a man. Roman first to second century AD. Plaster, h: 29 cm. Museum for Greek and Roman Art, Alexandria, inv. 19120. From: L. Bacchielli, 'Un ritratto cirenaico in gesso nel Museo greco-romano di Alessandria', QuadALibia 9 (1977), pp. 97-119, at p. 98 fig. 1.

1. 7. Portrait head of man. Roman. Plaster, h: 29.5 cm. Museum for Greek and Roman Art, Alexandria. From: A. Adriani, 'Ritratti deU'Egitto greco-romano', RM11 (1970), pp. 72-109, figs 34.3-4. Photo: Adriani. 1.8. Death mask. Hellenistic-Roman, first century BC to first century AD. Plaster. Archaeological Museum, Cairo, inv. JdE 46.593. From A. Adriani, 'Ritratti deU'Egitto greco-romano', RM11 (1970), pp. 72-109, at p. 108, pi. 35.1-2. Photo: Scichilone. 1.9. Relief-bust (cast from mould) of Ptolemy 1 Soter. Hellenistic, early third century BC. Plaster, h: 8.3 cm. Roemer- und Pelizaeus-Museum, Hildesheim, inv. 1120. Photo: © Roemer- und Pelizaeus-Museum, Hil- desheim. 660 List of Figures

1. 10. Head from a statue of an athlete (?). Late Hellenistic-early Roman. Plaster, h: 24.9 cm. University Art Museum, Princeton, inv. 2000-120. Courtesy Princeton University Art Museum. Gift of the Committee for the Excavation of Antioch to Princeton University (2000-120).

2. 1. Sciarra Amazon. Right: the Copenhagen copy. Second half of the first century AD. Marble, h (shoulder): 1.56 m. Ny Carlsberg Glyptotek, Copenhagen, inv. 54. Cast with replicas of Baiae casts inserted; upper left: close-up of inserted arm fragment. C. Landwehr, Die antiken Gips- abgusse aus Baiae, Archaologische Forschungen, 14 (Berlin, 1985), no. 30; lower left: close-up of inserted breast fragment, Landwehr no. 29. Photos: F. Kleinefenn.

2. 2. Mattel Amazon. Right: the Vatican copy. Second half of the first cen¬ tury AD. Marble, h (shoulder): 1.59 m. Vatican, inv. 748. Cast with replicas of the Baiae casts inserted. Upper left: close-up of an inserted fragment with a segment of the strap of the quiver, Landwehr (see at Fig. 2. 1), no. 34; lower left: close-up of an inserted fragment with folds of the chiton, Landwehr (see at Fig. 2. 1), no. 35. Photos: F. Kleine¬ fenn; G. Fittschen-Badura.

2. 3. Aphrodite Borghese. Marble statues from Baiae. Left: By Aphrodisios Athenaios, first quarter of the first century AD, h: 1.95 m. Museo Nazi- onale, Naples, inv. 150 383; Right: third quarter of the first century AD, h: 1.68 m. Museo Nazionale, Naples, inv. 150 384. Photos: DAI Rome Inst. Neg. 63.648/63.653.

2. 4. Cherchel 'Demeters'. Marble statues. Left: statue I. 25-5 BC. H: 2.075 m. Musee Archeologique, Cherchel, inv. S 88; right: Statue II. 25-5 BC. H: (shoulder) 1.8 m. Musee National des Antiquites, Alger, inv. 8. Pho¬ tos: F. Kleinefenn.

2.5. Aristogeiton. Left: Baiae cast, h: 21.6 cm. Landwehr no. 1; middle: head of c. 50 statue, BC. Marble, h (whole statue): 1.805 m. Capitoline Museums, Rome, inv. 2404; right: head. Marble, h: 32.5 cm. Capitoline Museums, Rome, inv. 2372. Photos: DAI Rome Inst. Neg. 78.1857; G. Fittschen-Badura.

2. 6. Sciarra Amazon. Upper left: Baiae cast with the right breast and close- of the ups corresponding parts of the Roman copies; upper right: Co¬ penhagen copy, Ny Carlsberg Glyptotek; lower left: Tivoli copy, Villa Adriana, Antiquario; lower right: Berlin copy, Staatliche Museen zu Berlin. Photos: G. Fittschen-Badura. 2. 7. Mattel Amazon. Baiae cast with a segment of the leather strap of the quiver and close-ups of the corresponding parts of the Roman copies; List of Figures 661

left: Baiae h: 8.8 upper cast, cm. Landwehr (see at Fig. 2. 1), no. 34; upper right: Trier copy, Landesmuseum. F. Altner, Steindenkmaler in Trier (1893) no. 691; lower left: Capitoline copy, Capitoline Museums, inv. Rome, 733; lower right: Tivoli copy, Villa Adriana, Museo. Photos: G. Fittschen-Badura.

2. 8. Tiber Left: Apollo. Tiber copy, Antonine period. Marble, h: 2.04 m. Museo Nazionale, Palazzo Massimo, Rome, inv. 608; right: Cherchel copy, Antonine period. Marble, h: 2.04 m. Musee Archeologique, Cherchel, inv. S 30. Photos: DAI Rome Inst. Neg. 99.840; F. Kleinefenn. 2. 9. Tiber Apollo. Details of Fig. 2. 8. Left: Tiber copy, Museo Nazionale, Palazzo Massimo, Rome; right: Cherchel copy, Musee Archeologique, Cherchel. Photos: DAI Rome; F. Kleinefenn.

2. 10. Left: Portrait bust of a noblewoman. Antonine period. Marble, h: 81 cm. Musee Archeologique, Cherchel, inv. S 36; right: Tiber Apollo, Cherchel (detail of Fig. 2. 8). Photos: F. Kleinefenn. 3. 1. Six female saints, Tempietto Langobardo at Cividale, Friuli. Stucco decoration, eighth to tenth century. 3. 2. Cast vault of entrance hall towards Piazza Venezia, Palazzo Venezia, Rome, 1465. © Giorgia Clarke. 3.3. Altarpiece with Saints Roche, Barbara and Lucy. Tiziano Minio, 1535-6. Gilded plaster on wood armature, 4.2 x 4.1 x 0.42 m. Museo Civico, Padua inv. 236 (formerly Oratorio di San Rocco). © Museo Civico di Padova. 3. 4. The Virgin and Child with Ten Saints. Andrea di Bonaiuto da Firenze, c. 1360-70. Tempera on wood, 27.9 x 106 cm. National Gallery, Lon¬ don, inv. NG 5115. © The National Gallery, London. 3. 5. Head of Gattamelata, after (and by?) Donatello, 1447-53?. Plaster cast, h: 24 cm. Mantova Benavides Collection, Museo di Scienze Arche- ologiche e d'Arte, University of Padua, inv. no. 5952; collection no. MB 75. Courtesy of Universita degli Studi di Padova, Museo di Scienze Archeologiche e d'Arte. 3. 6. The Virgin and Child (Verona Madonna). Donatello, c. 1450-75. Plas¬ ter cast, h: 95.3 cm. The Victoria and Albert Museum, London, Mu¬

seum n. A. 1-1932. © Victoria and Albert Museum, London. 3. 7. Augustus. Agostino Zoppo (attr.), before 1540. Plaster cast, h: 35.5 cm. Mantova Benavides Collection, Museo di Scienze Archeologiche e d'Arte, University of Padua, inv. 5949; collection no. MB 72. Courtesy of the Universita degli Studi di Padova, Museo di Scienze Arche¬ ologiche e d'Arte. 662 List of Figures

4. 1. Jiingling (Youth). Unknown artist. 1551-1552, aftercast from a first- century BC bronze statue of an Athlete in prayer found on the Magda- lensberg in Carinthia, now lost. Bronze, h: 1.895 m. Kunsthistorisches Museum, Vienna. Photo: Kunsthistorisches Museum Vienna, No. III. 17.812. 4. 2. Jiingling (Youth). Unknown artist. Engraving, in: Petrus Apianus, Insc- riptiones sacrosanctae vetustatis, non Mae quidem Romanae, sed totius fere orbis summo studio ac maximis impensis terra marique conquisi-

tae ... (Ingolstadii: in aedibus P. Apiani, 1534), p. CCXCVII. 4. 3. Apollo. Francesco Primaticcio, 1540-1541. Aftercast from the second- century AD marble Apollo Belvedere in the Vatican Museums, Rome. Bronze, h: 2.18 m. Musee National du Chateau, Fontainebleau. Photo:

Reunion des Musees Nationaux, Paris - Gerard Blot, No. 2972. 5. 1. The south front of Nonsuch. Jodocus Hondius (Josse de Hondt). En¬ graving, h: 11.4 cm, w: 11.3 cm. From John Speed's Map of Surrey, 1610. Author's collection.

5. 2. Plan of Nonsuch as recovered by excavation in 1959, the extent of the stucco decorations on the exterior walls in dashed outline (for red out¬ line, see PL 5. A). © Martin Biddle.

5.3. Nonsuch: drawing (David Honour) of the stucco fragments of a swag of fruit and roses surrounding a Tudor Rose. The part to the right of the white division is reconstructed in mirror-image. Approx. max. width of reconstructed swag: 99 cm. © Crown Copyright Reserved. 5. 4. Nonsuch: drawing (David Honour) of stucco fragments and reconstruc¬ tion of the Garter motto. Ext. diam. of motto, 49.2 cm; diam. of central rose, 16.8 cm. © Crown Copyright Reserved.

5. 5. Nonsuch: the stucco head of a winged cherub from the decorative frame shown in Fig. 6. © Martin Biddle. 5. 6. Nonsuch: drawing (David Honour) of the stucco head of the winged cherub shown in Fig. 5.5, with adjoining fragments and reconstruction of the top of a decorative frame. The section (lower right) through the cherub's head shows the depth of the supporting armature. Max. w. of reconstructed wingspan, 80.8 cm; ext. w. of frame: 68.8 cm; int. w. of framed area: 60.0 cm. © Crown Copyright Reserved. 5. 7. Nonsuch: drawing (David Honour) of a stucco fragment from the top of a panel with a hand grasping drapery which hangs from a ring. Max. h. of fragment: 23 cm. © Crown Copyright Reserved. 5.8. Nonsuch: drawings (David Honour) of stucco feet from the bottom of panels. Upper foot, seen from above, max. projection from the back- List of Figures 663

of the ground decorated area, 16.4 cm; seen from the front of the panel, max. h. of fragment: 14 cm; the section shows both the depth of the supporting armature and (in black) the location of a wooden support for the underside of the foot as it hangs forward from the decorated area. Lower seen from the side of foot, the panel, max. h. of fragment: 13.2 cm; seen from the front of the panel, max. w: 16 cm. © Crown Copyright Reserved.

5. 9. Nonsuch: drawing (David Honour) of the fragments of a panel showing a Roman soldier seated on his shield. H: 136.8 cm, w: 89 cm. © Crown Copyright Reserved. 5. 10. Nonsuch: reconstruction (David Honour) of the panel showing a Ro¬ man soldier seated on his shield. H: 136.8 cm, w: 89 cm. © Crown Copyright Reserved. 5. 11. Nonsuch: drawing (David Honour) of the back of the fragments of the panel showing a Roman soldier seated on his shield (cf. Fig. 5. 9). H: 136.8 cm, w: 89 cm. © Crown Copyright Reserved. 5. 12. Nonsuch: diagram (David Honour) of the impressions of planks, nail heads, pegs, and armature holes visible in the back of the fragments of the panel showing a Roman soldier seated on his shield (cf. Fig. 5. 11). H: 136.8 cm, w. 89 cm. © Crown Copyright Reserved.

5. 13. Nonsuch: diagram (David Honour), based on the impressions visible in the back of the panel of the Roman soldier (Fig. 5. 11, cf. Fig. 5.12), showing how the frame for the stucco panel was provided by the tim¬ bers of the south-west tower. © Crown Copyright Reserved.

5. 14. Nonsuch: the south-west tower from the south, detail from a watercolour by Joris Hoefhagel, 1568. © In private possession. For colour re¬ production see PI. 5. B. 5.15. Nonsuch: computer reconstruction (Simon Hayfield, provisional state) of the south-west tower based on all available contemporary illustrations, and the evidence of archaeology, written sources, and the surviving fragments of stucco and slate. © Nonsuch Palace Reconstruction Project/ Martin Biddle/Simon Hayfield. For colour reproduction see PI. 5. C. 6. 1. Carl Christian Heinrich Rost, sales-catalogue, 1794: Abgiisse antiker und moderner Statuen, Figuren, Biisten, Basreliefs iiber die besten Ori¬ ginate geformt in der Rostischen Kunsthandlung zu Leipzig, Frontispie¬ ce. © Gottingen, Staats- und Universitatsbibliothek, 8 ART PLAST V 1829.

6. 2. Portrait of Carl Christian Heinrich Rost. Anton Graff, c. 1794. Museum der bildenden Kunste, Leipzig, inv. 2091. © Museum der bildenden 664 List of Figures

Kunste Leipzig, Porlratsammlung der Kramermeister, Leihgabe der In¬ dustrie- und Handelskammer zu Leipzig. Photo: Ursula Gerstenberger. 6. 3. So-called Son of Laocoon. Cast of the head of the subjected figure of the Wrestlers in the Uffizi, Florence, inv. 216 (marble, h: 89 cm). Abgufi- sammlung Gottingen, inv. A 1357. Acquired from the Fratelli Ferrari 1771. © Archaologisches Institut der Universitat Gottingen. Photo: Ste- phan Eckardt 6. 4. So-called Son of Laocoon. Another plaster cast of the head of the sub¬ jected figure of the Wrestlers, Florence, cf. Fig. 6. 3. H: 45.5 cm. Goethe Nationalmuseum, Weimar, inv. 66. Photo: © Staatliche Kunstsammlun- gen, Weimar. 6. 5. Carl Christian Heinrich Rost, Sales-Catalogue, 1794: Abgiisse antiker und moderner Statuen, Figuren, Biisten, Basreliefs iiber die besten Ori¬ ginate geformt in der Rostischen Kunsthandlung zu Leipzig, pi. 20. Photo: Staats- und Universitatsbibliothek, Gottingen, 8 ART PLAST V 1829. 6. 6. Caunus and Biblis (Fede Group). Martin Gottlieb Klauer, 1780. Local limestone, h: 1.42 m. Copy after the ancient group once in the posses¬ sion of the Conte Fede (now lost). Klassik Stiftung Weimar, Anna- Amalia-Bibliothek, Weimar, inv. Museen, KPI/ 01702. Photo: Staat¬ liche Kunstsammlungen, Weimar.

7. 1. The Sacrifice of Isaac. Unknown artist, 1587. Oak, h: 144 cm, w: 56.5 cm. Left wing of an altarpiece in the church of the castle of Kronborg, Elsinore. Photo: author.

7. 2. Head of Abraham in The Sacrifice ofIsaac (detail of Fig. 7. 1). 7. 3. Head of the plaster cast of Laocoon in the Royal Academy of Fine Arts, Copenhagen (cf. Fig. 7. 7). 7. 4. Laocoon. Plaster cast, 1698. The Academy of Fine Arts, Stockholm. G. Gothe, Katalog dfver Gipsavgjutnings-samlingen. Kungliga Akademien for defria konsterna (Stockholm, 1904), p. 20, no. 31a. Photo: E. Tepe- lius-Muren.

7. 5. Laocoon. Bronze cast, F. Barbedienne, Paris, 1883. Hans Tausen's Park, Copenhagen. Photo: author.

7. 6. Laocoon. Plaster cast, Gipsformerei Berlin, 1898. H: 2.42 m. Royal Cast Collection, Copenhagen, inv. KAS385. Photo: author.

7. 7. Laocoon. Plaster cast, before 1744 (eldest son added 1789). H: 2.32 m. Royal Academy of Fine Arts, Copenhagen, inv. KG815 (deposited at Antikmuseet, Aarhus University, as inv. A308). Photo: author. List of Figures 665

7. 8. Laocoon. Side and back view of the altar block of the plaster cast in Royal Academy of Fine Arts, Copenhagen (cf. Fig. 7. 7). Photo: author. 7. 9. Plaster cast of Laocoon. Engraving, in: Carl Christian Heinrich Rost, Sales-Catalogue, 1794. From: C. Boehringer, 'Die Sammlung von Gips- abgussen antiker Skulpturen unter Chr. G. Heyne', in K. Fittschen (ed.), Die Skulpturen der Sammlung Wallmoden, exh. cat. Gottingen (Gottin¬ gen, 1979), p. 102, fig. 23. 7. 10. View of the plaster cast of Laocoon in the University Library, Gottin¬ gen. Unknown artist, after 1812. Engraving. From: C. Boehringer, 'Die Sammlung von Gipsabgiissen antiker Skulpturen unter Chr. G. Heyne', in K. Fittschen (ed.), Die Skulpturen der Sammlung Wallmoden, exh. cat. Gottingen (Gottingen, 1979), p. 109, fig. 28. 7. 11. Laocoon. Detail of the plaster cast in Royal Academy of Fine Arts, Copenhagen (cf. Fig. 7. 6). Photo: author.

7. 12. Laocoon. Detail of the original group. Roman, c. 50 BC. Marble, h: 2.38 m, w: 1.65 m. Vatican Museums, Rome, inv. nos 1059, 1064 and 1067. Photo: author.

8. 1. Mask of a drowned girl (Noyee de la Seine), c. 1900. Plaster, from gela¬ tine mould (?), h: 30 cm. Smith cast no. 219. Author's collection. Photo: author.

8. 2. South Kensington examination drawing of the Mask of a drowned girl (Fig. 8. 1). Black chalk (?) on paper, 31 x 22 cm. Probably by S. Wood¬ ward, a schoolmaster from Leeds, c. 1873. Author's collection. Photo: author.

8. 3. Cast of citrus fruit and leaves, c. 1900. Plaster, h: 23, w: 25 cm. It ap¬

pears to have passed from Gherardi (its original maker?) to Gabrielli, and to Caproni in Boston. Author's collection. Photo: author. 8.4. 15 Kentish Town Road in 1903. The workshop was situated at the back. London Transport Photographs Series, Camden Archives, London. Re¬ produced by kind permission of Camden Archives. 8. 5. Inscription from the underside of the Mask of a drowned girl (Fig. 8. 1). Photo: author. 8.6. Panel of Winged Victory. Early twentieth century. Plaster, from gelatine collection. mould, h: 38 cm, w: 22 cm. Smith cast no. 443. Author's Photo: author.

8. 7. Death mask of Keats. Early twentieth century. Plaster, from piece- mould, h: 27 cm. Smith cast no. 231. Private collection. Reproduced by kind permission of Christie's. 666 List of Figures

8.8. South Kensington examination drawing of a medieval capital. S. Wood¬ ward, a school master from Leeds, c. 1873. Labelled "3rd grade prize". Black chalk (?) on paper, 24 x 28 cm. The cast possibly came from the Architectural Museum (cast maker unknown). Author's collection. Photo: author.

8. 9. George Henry Smith (to the right) and possibly his brother Charles James (the older man with the moustache). Late 1920s. Author's collec¬ tion. Photo: author

8. 10. Death mask of George Bernard Shaw. Charles James Smith (Jr.), 1950. Collection of the Royal Academy of Dramatic Art, London. © RADA.

9. 1. Study of the Wrestlers. Edme Bouchardon, c. 1730. Red chalk on paper, 56 x 42 cm. Louvre, Paris, inv. 24003. Reunion des Musees Nationaux.

9. 2. Study of the torso of Laocoon. Edme Bouchardon, c. 1730. Red chalk on paper, 59 x 45 cm. Louvre, Paris, inv. 24023. Reunion des Musees Nationaux.

9. 3. View of the Capitoline collections. Giovanni Domenico Campiglia. En¬ graving, in: Giovanni Bottari, Musei Capitolini, vol. 2 (Rome, 1755). 10. 1. Drawing class of the Royal Academy of Art Berlin. Samuel Blesendorf after Augustin Terwesten. Engraving, in: L. Beger, Thesaurus Bran- denburgicus Selectus III (Berlin, 1701). From: ''Die Kunst hat nie ein Mensch allein besessen\ in A. von Specht (ed.), Dreihundert Jahre Akademie der Kiinste, Hochschule der Ktinste. Eine Ausstellung der Akademie der Kiinste und der Hochschule der Kiinste (Berlin, 1996), p. 38, pis 1-2/14. 10. 2. List of Luetke's casts 1802. Geheimes Staatsarchiv preufiischer Kultur- besitz Berlin Dahlem I HA rep. 76 alt, No. 244, fol. 97.

10. 3. Bust of Antoninus Pius. L. Lohr, c. 1750. Charcoal on paper. Universi- tat der Kiinste, Berlin, Archiv. Sammlung Schulerzeichnungen.

10. 4. Bust of Apollo Belvedere. Heinrich Anton Dahling, c. 1800. Charcoal on paper. Staatliche Museen zu Berlin, Kupferstichkabinett, SZ B 31. From: 'Die Kunst hat nie ein Mensch allein besessen\ in A. von Specht (ed.), Dreihundert Jahre Akademie der Kiinste, Hochschule der Kiinste. Eine Ausstellung der Akademie der Kiinste und der Hochschule der Kiinste (Berlin, 1996), p. 211, pi. III-1/8. 10. 5. Stocklist of plaster casts moulded by Vincenzo Barz[s]otti, 1789. Ge¬ heimes Staatsarchiv preuBischer Kulturbesitz Berlin Dahlem I HA rep. 76 alt, No. 244, fol. 58. List of Figures 667

10. 6. German artists in Rome (incl. Karl Philipp Moritz, Friedrich Rehberg, Aloys Hirt). Christian Ruhl, c. 1789. Pen and ink on paper. Kassel, Staat- liche Kunstsammlungen, Graphische Sammlung. From: J. Zimmer, 'Nachrichten iiber Aloys Hirt und Bibliographie seiner gedruckten Schriften', Jahrbuch der Berliner Museen, n.s. 41 (1999), pp. 133-94, at p. 137, pi. 2.

10. 7. Sacrifice to Mars (above) and Sacrifice to Minerva (below); gems from Lippert's Daktyliotheca. From: K. P. Moritz: Anthusa oderRoms Alter- thiimer, ed. Y. Pauly, Tubingen: 2005. (Vol. 4,1 of K. P. Moritz, Samt- liche Werke. Kritische und kommentierte Ausgabe). 10. 8. Sacrifice to Mars (above) and Sacrifice to Minerva (below), Asmus Jakob Carstens. Engraving, in: K. P. Moritz: Anthusa oder Roms Alter- tumer (Berlin, 1791). From K. P. Moritz: Anthusa oder Roms Altertiimer, ed. Y. Pauly, Tubingen: 2005. (Vol. 4 of K. P. Moritz, Sdmtliche Werke. Kritische und kommentierte Ausgabe). 11. 1. Facade of Mexican Fine Arts School. Manuel Buenabad, 1897. Albu¬ min, 20 x 16 cm. Escuela Nacional de Artes Plasticas. Universidad Na¬ tional Autonoma de Mexico, inv. 08-666718. 11.2. Sculpture Gallery. Manuel Buenabad, 1897. Albumin, 16 x 23 cm. Es¬ cuela Nacional de Artes Plasticas. Universidad Nacional Autonoma de Mexico, unnumbered. 11.3. Second Gallery of Modern Mexican Sculpture. Manuel Buenabad, 1897. Albumin, 17 x 23 cm. Escuela Nacional de Artes Plasticas. Uni¬ versidad Nacional Autonoma de Mexico, unnumbered. 11.4. Head of Cicero. Jeronimo Antonio Gil (attributed), 1779. Graphite on paper, 16 x 12 cm. Escuela Nacional de Artes Plasticas. Universidad Nacional Autonoma de Mexico. Plaster cast: inv. 08-639251; drawing: inv. 08-644691.

11.5. Venus de' Medici. Felipe Gonzalez, 1797. Graphite on paper, 16 x 42 cm. Escuela Nacional de Artes Plasticas. Universidad Nacional Autonoma de Mexico. Plaster cast: inv. 08-639402; drawing: inv. 08-648410. 11.6. The Wrestlers. Lauro Campos, 1860. Charcoal on paper, 46 x 60 cm. Escuela Nacional de Artes Plasticas. Universidad Nacional Autonoma de Mexico. Plaster cast: inv. 08-639364; drawing: inv. 08-644792.

11.7. The Slave. Lauro Serrano, 1908. Charcoal on paper, 59 x 34 cm. Escue¬ la Nacional de Artes Plasticas. Universidad Nacional Autonoma de Mexico. Plaster cast: inv. 08-639366; drawing: inv. 08-646786. 11. 8. Venus de Milo. Diego Rivera, 1903. Charcoal on paper, 34 x 45 cm. Escuela Nacional de Artes Plasticas. Universidad Nacional Autonoma de Mexico. Plaster cast: inv. 08-639498; drawing inv. 08-646932. 668 List of Figures

11.9. Plaster cast drawing class. Unknown artist, c. 1908-1910. Gelatine silver print, 27 x 34 cm. Escuela Nacional de Artes Plasticas. Univer¬ sidad Nacional Autonoma de Mexico, inv. 08-667323. 11. 10. Jose Cruz Tovar's modelling workshop. Unknown artist, 1930. Gela¬ tine silver print, 11x16 cm. Escuela Nacional de Artes Plasticas. Uni¬ versidad Nacional Autonoma de Mexico, inv. 08-715594. 12. 1. Ecorche foot. Unknown artist, eighteenth century. Terracotta, h: 17.5, 1: 33 cm. Royal Museums of Fine Arts, Brussels, inv. 2419/854. Photo: KIKIRPA, Brussels. 12. 2. Male Academy. Unknown artist, eighteenth century. Terracotta, h: 61, w: 26.5 cm. Royal Museums of Fine Arts, Brussels, inv. 2420. Photo: KIKIRPA, Brussels.

12. 3. Boy in the Studio. Wallerant Vaillant (1623-1677). Mezzotint, 27.5 x 21.3 cm. Private collection. Photo: owner.

12. 4. A Brussels Drawing Academy with a Plaster Cast of the Borghese Gladiator. Philippe Joseph Tassaert, 1764. Pen and brown ink with brown wash over graphite, 33 x 40.6 cm. British Museum, London, inv. 2003.1129.1. Photo: British Museum.

12. 5. A Sculptor's Studio. Unknown artist, mid seventeenth century. Pen and brown ink with grey wash on blue paper, 17.4 x 25.8 cm. Kunsthalle, Bremen, inv. 56/523. Photo: author.

12. 6. A Sculptor's Studio. Unknown artist, mid seventeenth century. Oil on canvas, 65 x 56 cm. Hunterian Museum and Art Gallery, University of Glasgow, presented by Miss Ina J. Smillie, 1963. Photo: University of Glasgow. 12. 7. A Sculptor's Studio. Balthasar van den Bossche (1681-1715). Oil on canvas, 66.5 x 86 cm. Art market. Photo: owner.

12. 8. A Sculptor's Studio. Gerard Thomas (1663-1721). Oil on canvas, 69.5 x 59 cm. Royal Museums of Fine Arts, Brussels, inv. 4711. Photo: KIKIRPA, Brussels. 13.1. View of Cavaceppi's Roman studio. Engraving, in: Raccolta d'antiche statue busti bassirilievi ed altre sculture restaurate da Bartolomeo Cavaceppi scultore Romano (Rome, 1768), I, frontispiece.

13. 2. Illustration to 'Sculpture en marbre'. Engraving, in: D. Diderot and J. le Rond d'Alembert (eds), Encyclopedic ou Dictionnaire raisonne des sciences, des arts et des metiers (Paris, 1765), XIV, pp. 841-2. 13. 3. Canova's studio in Via San Giacomo in Rome. Francesco Chiarottini, 1786. Pen and grey wash, heightened with white, on a blue-green prepared ground. Museo Civico, Udine, inv. 9. From: S. Androsov, List of Figures 669

M. Guderzo and G. Pavanello (eds), Canova, exh. cat. Bassano del Grappa and Possagno 2003/2004 (Milan, 2003), p. 354.

13. 4. Canova's allegory of Meekness on the tomb of Clement XIV. Gio¬ vanni Tognoli and Battista Balestra, 1818. Etching. Calcografia Na¬ zionale, Rome, inv. no. ING. CI, 1261. From: G. Pezzini Bernini and F. Fiorani (eds), Canova e Vincisione, exh. cat. Rome and Bassano 1994 (Bassano del Grappa, 1993), p. 97. 13. 5. Tomb of Clement XIV, detail: Meekness. Antonio Canova, 1785-6?. SS. Apostoli, Rome. From: G. Pavanello and M. Praz, L 'opera com- pleta del Canova (Milan, 1976), pi. VII. 13. 6. Canova and Henry Tresham contemplating the model of Amor and Psyche. Hugh Douglas Hamilton, 1788-9. Pastel on paper. Private collection on loan to the Victoria and Albert Museum, London. From: H. Honour and A. Weston-Lewis (eds), The three graces Antonio Canova, exh. cat. Edinburgh (Edinburgh, 1995), p. 8.

13. 7. Amor and Psyche. Antonio Canova, 1787-1793. Marble, h: 1.55 m, w: I. 68 m. Louvre, Paris, inv. MR 1777. Photo: author.

13. 8. Hebe. Antonio Canova, 1796. Marble, h: 1.57 m. Staatliche Museen zu Berlin, Alte Nationalgalerie, inv. B I 31. From: B. Maaz (ed.), Na- tionalgalerie Berlin. Das XIX. Jahrhundert. Bestandskatalog der Skulpturen (Leipzig, 2006), I, p. 121. 13. 9. Second model of the Hebe. Antonio Canova, 1808. Plaster, h: 1.65 m. Gipsoteca, Possagno, inv. 83. Photo: author.

13. 10. Briseis handed over to the Heralds. Antonio Canova, 1793. Plaster,

n. 46. From: h: 1.22 m, w: 2.12 m. Museo Correr, Venice, inv. XXVI, G. Pavanello and G. Romanelli (eds), Antonio Canova, exh. cat. Venice (Venice, 1992), p. 193. 14. 1. View in the Chantrey Gallery. Joseph Fisher. Engraving. From: Idem, Sixty Etched Reminiscences of the Models by Sir Francis Chantrey in the University Galleries, Oxford, 2nd edn (Oxford, 1850), frontis¬ piece. 14. 2. Bust of John Home Tooke. Sir Francis Chantrey, 1810. Plaster, h: 63.5 Photo: author. cm. Ashmolean Museum, Oxford, inv. WA1842.105. 14.3. Head of George III (fragment of full-size statue). Sir Francis Chantrey, 1811-1815. Plaster, h: 38.8 cm. Ashmolean Museum, Ox¬ ford, inv. WA1842.21. Photo: author.

14. 4. Statue of Dr James Anderson. Sir Francis Chantrey, 1815-19. Engrav¬ ing by Joseph Fisher, 1850. From idem, (see Fig. 14. 1), fig. 41. 670 List of Figures

14. 5. Detail showing pointing marks on bust of Anne Lucy, Baroness Nugent. Sir Francis Chantrey, 1819. Plaster, h: 62.6 cm. Ashmolean Museum, Oxford, inv. WA1842.168. Photo: author.

14. 6. Plan of recommended display of statues and groups by Sir Francis Chantrey in the University Galleries, Oxford. C. H. Turner and George Jones, 1844. Pen on paper. Letters and Papers 1839-1856, Department of Western Art Archives, The Ashmolean Museum, Oxford

15. 1. Pythia. Marcello, 1870. Bronze, h: 2.9 m. Palais Gamier, Paris. From: Fiches du Musee d'Art et d'Histoire Fribourg, 1999-5, n.p.).

15. 2. Pythia. Marcello, 1875. Bronze replica, h: 1.22 m. Musee d'art et d'histoire, Fribourg. From: Fiches du Musee d'Art et d'Histoire Fribourg, 1999-5, n.p.). 15. 3. Letter of the Duchess of Colonna to her mother, the Countess of Affxy, 13 July 1869. Reproduction of the first page in facsimile. Fondation Marcello, Fribourg. Photo: author. 15. 4. Body mould of Marcello's shoulders. Unknown artist, 1869. Plaster, h: 44 cm. Fondation Marcello, Fribourg. Photo: author. 15. 5. Photograph of Marcello. Unknown photographer. Fondation Marcello, Fribourg. Photo: author. 15. 6. Judith and Holofernes. Donatello, 1455-1460. Bronze, h: 2.36 m. Pa¬ lazzo Vecchio, Florence. From: The Art Bulletin, 83, 2001, p. 36.

15. 7. Judith and Holofernes. Donatello, 1455-1460 (detail of Fig. 15. 6). 15. 8. Pythia. Marcello, 1875. Bronze replica, detail of Fig. 15. 2). Photo: author.

15. 9. Leg study II. Pierre-Louis Pierson, 1861-1867/1895-1910. Photograph. Musee d'Orsay, Paris. From: P. Apraxine, La Comtesse de Castiglione par elle-meme, exh. cat. Paris (Paris, 1999), p. 150.

16. 1. Ecce puer (Behold the Child). Medardo Rosso, 1906. Plaster cast, h: c. 50 cm. Present whereabouts not established; out of a number of casts in existence, this is probably the one in Galleria d'arte moderna, Milan. Original photograph by the artist. Photo: Museo Medardo Rosso, Barzio.

16. 2. La riconoscenza (Gratitude). Medardo Rosso, c. 1883-85. Plaster model for work in bronze (both destroyed), h: 0.5 m, 1: 1.5 m, w: 1 m. Original photograph perhaps by the artist. Photo: Museo Medardo Rosso, Barzio.

16. 3. Impression d'omnibus (Impression of an Omnibus). Medardo Rosso, 1884. Plaster (destroyed 1887). Original photograph by the artist. Photo: Museo Medardo Rosso, Barzio. List of Figures 671

16. 4. Impression de boulevard. Paris la nuit, (Impression of the Boulevard, Paris by Night). Medardo Rosso, c. 1895-6. Plaster, h: c. 2 m (de¬ stroyed). Original photograph by the artist. Photo: Museo Medardo Rosso, Barzio. 16. 5. Bambino alle cucine economiche, (Child in the Soup Kitchen). Medardo Rosso, 1882-3. Bronze with plaster investment, h: 43 cm. Galleria d'Arte Moderna di Palazzo Pitti, Florence, inv. GAM 661. Photo: Ar- chivio gabinetto fotografico, Uffizi. 17. 1. Antigrazioso. Umberto Boccioni, 1912-1913. Plaster and mixed media. Photograph taken at the First Exhibition of Futurist Sculpture, Galerie La Boetie, Paris, June 1913. Courtesy Skira, Milan. 17. 2. Head + House + Light. Umberto Boccioni, 1912-1913. Plaster and mixed media (work destroyed). Photograph taken at the First Exhibition of Futurist Sculpture, Galerie La Boetie, Paris, June 1913. Courtesy Skira, Milan. 17. 3. Umberto Boccioni in his studio, at his left the unfinished sculpture Head + House + Light, spring 1913. Courtesy Skira, Milan. 17. 4. Detail of the left side oiHead + House + Light (see Fig. 17. 3). Photo¬ graph taken at the First Exhibition of Futurist Sculpture, Galerie La Boetie, Paris, June 1913. Courtesy Skira, Milan.

17. 5. Fusion of a Head and a Window. Umberto Boccioni, 1912-1913. Plas¬ ter and mixed media (work destroyed). Photograph taken at the First Exhibition of Futurist Sculpture, Galerie La Boetie, Paris, June 1913. Courtesy Skira, Milan.

17. 6. Unknown visitor posing with Umberto Boccioni's Fusion ofa Head and a Window (side view). Photograph taken at the First Exhibition of Futur¬ ist Sculpture, Galerie La Boetie, Paris, June 1913. Courtesy Skira, Milan. 17. 7. Unique Forms of Continuity in Space. Umberto Boccioni, 1913. Plaster, h: 116.4 cm. From: Exhibition of the Works of the Italian Futurist Painters and Sculptors, The Dore Galleries (London, 1914), p. 18.

17. 8. Development ofa Bottle in Space. Umberto Boccioni, 1912-13. Plaster. From: Exhibition of the Works of the Italian Futurist Painters and Sculptors, The Dore Galleries (London, 1914), p. 24. 18. 1. Judenplatz-Memorial, Vienna. Rachel Whiteread, 2000. Concrete, 1: 10 m, w: 7 m, h: 3.8 m. Photo: author. 18. 2. Room 101. Rachel Whiteread. Temporary installation in the Cast Court at the Victoria and Albert Museum, London, September 2003 to July 2004. Plaster, h: 3 m, w: 5 m, 1: 6.43 m. Photo: author. 672 List of Figures

18. 3. Room 101. Rachel Whiteread (cf. Fig. 18. 2). Photo: author.

19. 1. Penis group. Plaster. Owned by the author. Photo: © Jane McAdam Freud.

19. 2. Renaissance medal group. Plaster. Owned by the author. 19. 3. 1+1. Jane McAdam Freud, 2006. Raw clay, life-size. Photograph from the exhibition Relative Relations, the Freud Museum, London. Photo: Gautier De Blonde © Jane McAdam Freud.

19. 4. '1+1 undercover'. Jane McAdam Freud, 2007. Raw clay and cloth, life-size. Photograph from the exhibition Relative Relations, the Har¬ row Museum, London. Photo: © Jane McAdam Freud.

19. 5. Our World. Bill Woodrow, 1997. Bronze, h: 5 cm, w: 3.5 cm. British Art Medal Society collection (BAMS), British Museum, London. Photo: © British Art Medal Society. 19. 6a. Starting point (obverse). Plaster cast after Matteo de' Pasti's bronze cast medal (rev) of Isotta degli Atti of Rimini (1446). D: 8.225 cm. Authors collection. Photo: © Jane McAdam Freud.

19. 6b. Starting point (reverse), generic leaf. Photo: © Jane McAdam Freud. 19. 7. Plaster cast from leaf. Photo: © Jane McAdam Freud. 19. 8. Wax pressing. Photo: © Jane McAdam Freud.

19. 9a. Wax sprue (reverse). © Jane McAdam Freud.

19. 9b. Wax sprue (obverse). Photo: © Jane McAdam Freud. 19. 10. Casting box. Photo: © Jane McAdam Freud. 19. 11. Mixing rubber. Photo: © Jane McAdam Freud.

19. 12. Rubber mould. Photo: © Jane McAdam Freud.

19. 13a. Finished Conference Medal (obverse). Jane McAdam Freud, 2007. Plaster, d: 8.1 cm. Photo: © Jane McAdam Freud. 19. 13b. Finished Conference Medal (reverse). Cf. Fig. 19. 13a. Photo: © Jane McAdam Freud.

20. 1. Stone capital with plaster decoration, twelfth century. Monastic Church of Driibeck. H: 59.9 cm, w: 74 cm, 1: 7 cm. Photo: © Archiv, Landes- amt fur Denkmalpflege Sachsen-Anhalt.

20. 2. Choir screen, north side, with Sts Mathias, Bartholomew, Peter, Christ, Sts Andrew, Matthew and Thomas, c. 1200. Liebfrauenkirche, Hal- berstadt. Polychrome plaster on limestone. Photo: Torsten und Daniela Arnold. © Torsten und Daniela Arnold and Landesamt fur Denkmal¬ pflege und Archaologie Sachsen-Anhalt. List of Figures 673

20. 3. Choir screen, north side, upper frieze with traces of the working tech¬ nique. Polychrome plaster on limestone. Liebfrauenkirche, Halberstadt. Photo: Torsten und Daniela Arnold. © Torsten und Daniela Arnold and Landesamt fur Denkmalpflege und Archaologie Sachsen-Anhalt.

20. 4. Choir screen, north side with St. Thomas. Traces of working technique with layers of plaster. Polychrome plaster on limestone. Liebfrauenkir¬ che, Halberstadt. Photo: Torsten und Daniela Arnold. © Torsten und Daniela Arnold and Landesamt fur Denkmalpflege und Archaologie Sachsen-Anhalt.

20. 5. Choir screen, south side, column between Sts Philip and James Major, with incisions. Polychrome plaster on limestone. Liebfrauenkirche, Hal¬ berstadt. Photo: Torsten und Daniela Arnold. © Torsten und Daniela Arnold and Landesamt fur Denkmalpflege und Archaologie Sachsen- Anhalt.

20. 6. Choir screen, south side. Figure of Judas, deteriorated plaster surface with blisters. Liebfrauenkirche, Halberstadt. Photo: Torsten und Daniela Arnold. © Torsten und Daniela Arnold and Landesamt fur Denkmal¬ pflege und Archaologie Sachsen-Anhalt.

21.1. Flora Farnese, initial state of conservation. Plaster, h: 3.42 m. Cast by Cesare Sebastiani in Rome, 1650, from the Roman second-century AD marble statue, now in the National Archaeological Museum, Naples. Real Academia de Bellas Artes de San Fernando, Madrid, inv. V-2. Photo: authors.

21. 2. Hercules Farnese, initial state of conservation. Plaster, h: 3.18 m. Cast by Cesare Sebastiani in Rome, 1650, from the Roman second-century AD marble statue, now in the National Archaeological Museum, Naples. Real Academia de Bellas Artes de San Fernando, Madrid, inv. V-l. Photo: authors.

21. 3. Flora Farnese, gammagraphy study (cf. Fig. 21. 1). Photo: David Viana and the authors. 21. 21.4. Hercules Farnese, during the process of overpaint removal (cf. Fig. 2). Photo: authors. 21. 5. Hercules Farnese, during the Anjusil treatment (cf. Fig. 21. 2). Photo: authors.

21.6. Hercules Farnese, after restoration (cf. Fig. 21.2). Photo: authors. 21.7. Flora Farnese, after restoration (cf. Fig. 21.1). Photo: authors. 21. 8. Flora Farnese, differences between the original and the copy; to the head cen- left the copy in plaster from Madrid, Guglielmo's (sixteenth 674 List of Figures

tury); to the right Tagliolini's head in Naples, also in plaster (nine¬ teenth century). Photo: authors.

21. 9. Hercules Farnese, differences between the original and the copy; to the left, the copy from Madrid, Guglielmo's legs (sixteenth century) in plaster; to the right the original legs in Naples, marble, added by Al- bacini in 1787. Photo: authors.

22. 1. Discus Thrower at Zappeio, Athens. Kostas Dimitriadis, 1924 (cast in 1989). Bronze, h: 2.14 m. Statue knocked down by car in an accident. Photo: Athens' Monuments Archive, Municipality of Athens (© li¬ cence number 150659/4-10-07). 22. 2. Discus Thrower. Kostas Dimitriadis, 1924. Original model, plaster, h: 2.14 m. National Glyptotheque, Athens. Photo: M. Kliafa. 22. 3. Statue of Kostis Palamas outside the Culture Centre of the Municipality of Athens. Vasos Falireas, 1975. Marble, h: 1.6 m. Photo: M. Kliafa. 22. 4. Statue of Kostis Palamas. Vasos Falireas, 1975. Original model, plaster, h: 1.6 m. National Gallery and Alexandras Soutzos Museum, Athens. Photo: M. Kliafa. 22. 5. Sleeping Female Figure. Yannoulis Chalepas, 1877. Grave marker for Sofia Afentaki in the First Cemetery of Athens. Marble, h: 0.77 m, 1: 1.78 m, w: 0.76 m. Photo: M. Kliafa. 22. 6. Sleeping Female Figure. Yannoulis Chalepas, 1877. Cast of the marble monument (cf. Fig. 22. 5), 1980. Plaster. National Glyptotheque, Athens. Photo: M. Kliafa. 22. 7. St Barbara and Hermes. Yannoulis Chalepas, before 1925. Unfired clay, h: 54 cm. National Glyptotheque, Athens, inv.no P. 1474. Photo: M. Kliafa. 22. 8. St Barbara and Hermes. Yannoulis Chalepas, before 1925. Cast of the clay sculpture (cf. 22. 7). Plaster, h: 54 cm. National Glyptotheque, Athens. Photo: P. Rompakis. 22. 9. Hecatoncheir. Yannoulis Chalepas, before 1927. Cast of the clay sculp¬ ture. Plaster, h: 32 cm. Nicolaos Yannacopoulos Collection, Athens. Photo: P. Rompakis. 22. 10. Small head discovered inside the head of Hecatoncheir (cf. 22. 9). Yannoulis Chalepas, before 1927. Unfired clay, h: 32 cm. Nicolaos Yannacopoulos Collection, Athens. Photo: P. Rompakis. 23. 1. Of the three columns in the Campo Vaccino at Rome. Engraving in A. Desgodetz, Les edifices antiques de Rome (Paris, 1682, engl. edn, Lon¬ don 1771), I, pis 1-2. List of Figures 675

23. 2. Model of the temple at Tivoli. G. Altieri, 1770s. Cork and wood, h: 41 cm. Sir John Soane's Museum, London, inv. MR 2. Photo: G. Butler. Courtesy of the trustees of Sir John Soane's Museum.

23. 3. Model of the temple of Isis in Pompeii. G. Altieri, 1784. Cork and wood, 1: 2.22 m, w: 1.72 m. Royal Castle, Drottningholm, inv. NM Drh Sk 281. Photo: National Museum, Stockholm. 23.4. Model of the temple at Tivoli, restoration. Francois (?) Fouquet, c. 1830. Plaster, h: 20 cm. Sir John Soane's Museum, London, inv. MR 13. Photo: G. Butler. Courtesy of the trustees of Sir John Soane's Museum. 23. 5. Study of L. S. Fauvel's plaster model of the Parthenon, by William Gell 1812. Graphite and wash on paper. British Museum, London, sketchbook 13 Lb 63. Photo: British Museum, London. 23. 6. Model of the Acropolis of Athens. L. S. Fauvel, c. 1805. Plaster, h: 43 cm, w: 27 cm, 1: 14 cm. Bibliotheque Nationale, Dept. Cartes et Plans, Paris, inv. Ge A 170. Photo: Bibliotheque Nationale, Paris. 23. 7. Cast of the order of the so-called temple of Hercules in Rome (the circular temple at the Forum Boarium). Academie des Beaux-Arts, Paris, 1829. Plaster. Petits Ecuries, Versailles. Photo: Jean-Claude Fernandez.

23. 8. Cast after a coffer from the soffit of the entablature of the temple of Jupiter Stator (Dioscuri) in Rome. Academie des Beaux-Arts, Paris, nineteenth century. Plaster, h: 18 cm, w: 30.6 cm, 1: 37 cm. Museum fur Abgiisse, Munich, inv. 1031. Photo: author. 23. 9. Architectural collection of the Technische Hochschule, Munich, 1917. From: W. Helmberger and V. Kockel (eds), Rom iiber die Alpen tra- gen. Fiirsten sammeln antike Architektur: Die Aschaffenburger Kork- modelle (Landshut, 1993), p. 123 fig. 3. Photo: author. 23. 10. Reconstruction of two columns of the temple of Iupiter Stator (Dio- scuroi) in Rome. Plaster, h: 18.6 m. Once Academie des Beaux-Arts, Court Vitre, Paris. Photo: ENSBA. 23. 11. Reconstruction of the eastern front of the temple of Zeus in Olympia. Exhibition of the Academy of Fine Arts, Berlin 1886 (now destroyed). From: E. Fabricius and L. Pietsch, Ftihrer durch das Pergamon- und Olympia-Panorama (Berlin, 1886), frontispiece. Photo: author. 24. 1. Portrait of Christian Gottlob Heyne (1729-1812). Christian Gottlob Geyser after Johann Heinrich Tischbein the Elder, 1772. Engraving. From: Neue Bibliothek der schonen Wissenschaften und der freyen Kiinste, XV (Leipzig, 1773), frontispiece. 676 List of Figures

24. 2. Dactyliotheca with a selection of impressions of gems and casts of cam¬ eos from the Royal Museum at Naples, late eighteenthth century. Plaster, wood, coloured and gilded paper, 25.3 x 21.3 cm. Archaologisches In- stitut der Georg-August-Universitat, Gottingen, inv. A 894. Photo: Ste- phan Eckardt, © Archaologisches Institut der Georg-August-Universitat Gottingen.

24. 3. Dactyliotheca with gem impressions from the Royal Museum in Berlin, vol. 26. Martin Krause, c. 1845. Plaster, cardboard, coloured and gilded paper, 33 x 29 cm. Archaologisches Institut der Georg-August-Univer¬ sitat, Gottingen, inv. A 883. Photo: Stephan Eckardt, © Archaologisches Institut der Georg-August-Universitat Gottingen.

24. 4. Medaillon with portrait of an unidentified woman, decorating the right front door of the cabinet as in PI. 24. B. James Tassie (or Josiah Wedg¬ wood ?), c. 1786. White paste imitating porcelain. Height of the medail¬ lon 7.7 cm. Archaologisches Institut der Georg-August-Universitat, Got¬ tingen, inv. A 1358. Photo: Stephan Eckardt, © Archaologisches Institut der Georg-August-Universitat Gottingen. 24. 5. Dactyliotheca by James Tassie, cabinet by J. Roach (?), c. 1786 (cf. PI. 24. B). Veneered wood, brass, white paste imitating porcelain, 1: 47 cm, w: 52.2 cm, h: 34.6 cm. On the left the handwritten catalogue, bound in red morocco leather. Archaologisches Institut der Georg-August-Uni¬ versitat, Gottingen.

24. 6. Cabinet J. Roach c. by 1780 for the collection of gem impressions, pro¬ duced by James Tassie for Catherine II of Russia. Hermitage, St. Pe¬ tersburg. From: J. Kagan, 'Kabinet slepkov Dzejmsa Tassi v Ermitaze. K istorii russko-anglijskih hudozestvennyh svjazej v 18 veke', Trudy Gosudarstvennogo Ermitaza, 14 (1973), p. 94 fig. 6.

25. 1. Various boxes with impressions, late eighteenth to nineteenth century. Beazley Archive, Oxford. Photo: C. Wagner.

25. 2. Electrotype of the Tryphon cameo with its original mount. Maker unknown, c. 1860. 11 x 11 cm. Beazley Archive, Oxford, Marlborough no. 1. Photo: C. Wagner. 25. 3. Daniel Philipp Lippert's three-volume Daktyliothek (1776). L: 57 cm, w: 21 cm, h: 36 cm. Beazley Archive, Oxford, inv. no. 158a-c. Photo: C. Wagner.

25. 4. Impression of an engraving of the Laocoon. By 'Paoletti Impronte' (Paoletti workshop), Rome, early nineteenth century. 2.7 x 2cm. Beazley Archive, Oxford, inv. no. 26c. Photo: C. Wagner. List of Figures 677

25. 5. Impressions of gems by the English engraver Nathaniel Marchant. Amastini workshop, c. 1800. H: 34 cm, 1: 22 cm, h: 5 cm. Beazley Ar¬ chive, Oxford, inv. no. 44b. Photo: C. Wagner. 25. 6. Hanging frame with black sulphur impressions from the Poniatowski collection. Unknown maker, c. 1840. 48 x 33 cm. Beazley Archive, Ox¬ ford, inv. no. 148d. Photo: C. Wagner.

25. 7. The Ritratti di Uomini Illustri, sl selection in a nest of two drawers. T. Cades, c. 1800. L: 21 cm, w: 15 cm, h: 6 cm. Beazley Archive, Oxford, inv. no. 57. Photo: C. Wagner.

26. 1. The cast of the facade of the Portico de la Gloria when erected in the Architectural Courts at the Victoria and Albert Museum (then South Kensington Museum), London, in 1873. Plaster h: 10.57 m. Domenico Brucciani, 1866. The foundations for the cast of Trajan's column are shown in the foreground. Photo: Images/Victoria and Albert Museum, neg. no. 9791.

26. 2. Part of the Perry collection of antique casts as originally displayed in room 45 at the Victoria and Albert Museum (then South Kensington Museum), London. Henry Edward Tidmarsh, c. 1887-93. Pencil and watercolour on paper, 27.7 x 21.5 cm. Victoria and Albert Museum, inv. E.2385-1983. Photo: Images/Victoria and Albert Museum.

26. 3. Antique casts as displayed in rooms 22-24 at the Victoria and Albert Museum (then South Kensington Museum), London. From: The Queen's London. A Pictorial and Descriptive Record of the Great Metropolis in the Year of her Majesty's Diamond Jubilee, Cassell & Company Ltd, London (Paris and Melbourne, 1897), p. 171.

26. 4. The cast of Trajan's column under construction in one of the Architec¬ tural Courts at the Victoria and Albert Museum (then South Kensington Museum), London, in 1873 (now known as the Northern European and

Spanish Cast Court - gallery 46A). Plaster, height of this part of column (erected in two pieces): 5.235 m. Photo: Images/Victoria and Albert Museum, neg. no. 9876.

26. 5. One of the Architectural Courts (cf. Fig. 26.4). Henry Edward Tidmarsh, Victoria c. 1890-1900. Pencil and watercolour on paper, 27.8 x 21.4 cm. and Albert Museum, London, inv. E.2384-1983. Further antique casts Victoria and can be seen in the foreground. The caryatid (left bottom), Albert Museum, inv. Ant 95, was one of the antique casts retained by the the Museum and is now displayed at the Museum at the entrance to Architecture Gallery. 678 List of Figures

26. 6. The Northern European Cast Court showing some of the Crystal Palace casts of effigies acquired by the Victoria and Albert Museum, London, in 1938, from the remains of the Crystal Palace collection. Photo: Im¬ ages/ Victoria and Albert Museum, CT ref. no. 2006AG4245.

26. 7. The Cast Workroom at the Victoria and Albert Museum, London, c. 1940s. Photo: Images/Victoria and Albert Museum, neg. no. BW41651. 26. 8. Room 101. Rachel Whiteread. Temporary installation, in the Italian Cast Court at the Victoria and Albert Museum, London, September 2003 to July 2004. Plaster, 3 x 5 x 6.43 m. Photo: Images/Victoria and Albert Museum, CT ref. no. 2006AF1919.

27. 1. The East Architectural Court (now known as the Italian Cast Court), Victoria and Albert Museum, London. Photo: Images/Victoria and Al¬ bert Museum.

27. 2. The Art Museum at the South Kensington Museum, London, about 1857, with the Cast of Michelangelo's David; on the plinth below is a photograph of the setting of the original. Photo: Images/Victoria and Albert Museum. 27. 3. The Raphael Cartoons with the copies of the lunettes and pilasters from the Loggia, as displayed in the South Kensington Museum, London, in 1868. Photo: Images/Victoria and Albert Museum. 27. 4. Casts of decorative details from the Amboise Monument, Rouen. En¬ graving, in: R. N. Woraum, Catalogue of Ornamental Casts (London, 1855), fig. opposite p. 32. Photo: Images/Victoria and Albert Museum. 27. 5. Reproduction of a Roman panel of Ducks and Water Fowls in Sta Maria in Trastevere, Rome. Caspar Clarke (later Sir Caspar Purdon Clarke), 1872. Coloured paper impression (or 'Paper mosaic'), 45.7 x 45.7 cm. Victoria and Albert Museum, London, inv. 990-1873. As dis¬ played 'in the Gallery of the South-East Court of the Museum' in 1877. Photo: Images/ Victoria and Albert Museum.

27. 6. The West Architectural Court (now known as the Northern European and Spanish Cast Court) in the South Kensington Museum, London, c. 1872. Photo: Images/Victoria and Albert Museum. 27. 7. The cast of the Portico de la Gloria from Santiago da Compostella in the Northern European and Spanish Cast Court. Victoria and Albert Museum, London, 1983. Victoria and Albert Museum, inv. 1866-50. Photo: Images/ Victoria and Albert Museum. 27. 8. The West Front of Santiago Cathedral. Photograph by Charles Thurston Thompson, 1866. 43.5 x 37.5 cm. Victoria and Albert Museum, Lon¬ don, inv. 62.598. Photo: Images/Victoria and Albert Museum. List of Figures 679

27. 9. Plaster cast of a detail from the Portico de la Gloria, as displayed in the South Kensington Museum, London in the late 1860s. Victoria and Albert Museum, London. Victoria and Albert Museum. Photo: Im¬ ages/Victoria and Albert Museum. 27. 10. The West Architectural Court at South Kensington, London, with the cast of the Portico de la Gloria and a cast of Adriaen de Vries's Cupid and Psyche in the foreground. Engraving, in: The Builder, 4 October, 1873. Photo: Images/Victoria and Albert Museum. 28. 1. Collection of postcards of casts in the Musee de Sculpture Comparee, Paris. Neurdein Freres, c. 1900. Private Collection, Switzerland. 28. 2. Salle du XVIe siecle of the Musee des Monuments Francais, Paris. Engraving, in: Vues pittoresques et perspectives des salles du musee des monuments frangais, gravies au burin en vingt estampes par MM. Reville et Lavalee d'apres les dessins de M. Vauzelle avec un texte ex- plicatifde B. de Roquefort (Paris, 1816). 28. 3. View of the Grande Galerie of the Musee de Sculpture Comparee, Paris. Unknown photographer, late nineteenth century. From: C. Pieri (ed.), Le Musee de sculpture comparee. Naissance de I'histoire de I'art modern. Actes du colloques Paris 1999 "Le musee de sculpture comparee: l'invention d'un modele au XLXe siecle" (Paris, 2001), p. 123. 28. 4. Diagram illustrating rules of proportion in gothic sculpture. Engrav¬ ing, in: E. Viollet-le-Duc, Dictionnaire raisonee de I'architecture frangaise duXIe au XVIe siecle (Paris 1869), VIII, p. 267. 28. 5. Postcard of the Musee de Sculpture Comparee, Paris. Neurdein Freres, recto and verso. Undated. Private Collection, Switzerland.

28. 6. Postcard of plaster cast of an Ephebe by Francois Rude for the Arc de Triomphe (1836), in the Musee de Sculpture Comparee, Paris. Neurdein Freres, c. 1900. Private Collection, Switzerland.

28. 7. Postcard of plaster cast of a Wounded Warrior from the Temple of Aphaia at Aegina (late sixth century BC.) in the Musee de Sculpture Comparee, Paris. Neurdein Freres, c. 1900. Private Collection, Switzer¬ land. Rome. Jan 29. 1. Study of a cast of a giant foot from the Palazzo Farnese, Rudolf Spork/Sporck (1729-1740). Ink on paper, 30.5 x 19 cm. The Library of the Strahov Monastery, Prague, sign. DE III 21, volume IV, p. 146. Photo: author. 29. 2. Portrait Bust of Frantisek Josef Klebelsberg-Thumburg (1778-1857). The National Eduard Hutter, Vienna, c. 1835. Plaster cast, h: 57.5 cm. 680 List of Figures

Museum, Prague, (ex. coll. Klebelsbergiana), inv. H2-3814. Photo: author. 29. 3. Birthday Card, Bohemia (Prague ?), 1812 (dated by chronogramme). Plaster cast, h: 7 cm, w: 11.8 cm. The National Museum, Prague, inv. H2-3857. Photo: Adela Skoupa. 29. 4. Busts of Matthias of Arras and Peter Parler (Cathedral Architects). Casts of the sandstone originals from the triforium of Prague Cathe¬ dral by Peter Parler workshop, 1376-1385. Casts by Giovanni Pelle¬ grini, 1848-1857. Plaster, h: 44.5 and 46 cm. The National Museum, Prague, inv. H2-3825/2,3. Photo: author. 29. 5. Cast of the Romanesque portal from the Church of St. Procopius in Zabori (cf. Fig. 29. 6) 1898. Plaster; h: 5.15 m, w: 4.36 m. The Na¬ tional Museum, Prague, inv. H2-196.389. Photo: author. 29. 6. Romanesque portal from the Church of St. Procopius in Zabori upon Labe (near Kolin), third quarter of the twelfth century. White lime¬ stone, h: 5.5 m, w: 4.5 m. Photo: author. 29. 7. Coronation of the Virgin Mary under the Throne of Divine Mercy, flanked by Emperor Charles IV and his wife, the Bohemian Queen Blanche de Valois (?). Cast, c. 1903, of sandstone tympanum, c. 1346, from the former Carmelite Monastery of the Virgin Mary of the Snows, Prague, New Town. Plaster, h: 4.4 m, w: 4.2 m, The National Museum, Prague, inv. H2-196.391. Photo: author. 29. 8. Three statues of St. Vitus during copying in 2006. Top centre: the original from the Charles Bridge. Workshop of Peter Parler, c. 1380. Sandstone, h: 2.23 m. The National Museum, Prague, inv. H2-180. 620. On the left: a plaster cast of the original, pre 1978. The National Museum, Prague, inv. H2-195.103. On the right: the unfinished sand¬ stone copy to be positioned on the Bridge. Photo: Martin Frouz. 29. 9. Head of St. Vitus; the plaster cast model (as in Fig. 29. 8) with points for measuring, the National Museum Prague. H: 38 cm. Photo: author. 29. 10. The east facade of the Old Town Tower, Charles Bridge, Prague, 1347-c. 1380, in August 2007 with the new sandstone copies in place. Photo: author.

30. 1. Museum of Fine Arts, Moscow. Main facade, 1912. Photo: Pushkin Museum of Fine Arts, Moscow. 30. 2. Museum of Fine Arts, Moscow. Greek Courtyard, 1912. Photo: Pushkin Museum of Fine Arts, Moscow. 30. 3. Museum of Fine Arts, Moscow. Christian Courtyard, 1912. Photo: Pushkin Museum of Fine Arts, Moscow. List of Figures 681

30.4. Ivan Tsvetaev, 1905-1909. Photo: Pushkin Museum of Fine Arts, Moscow.

30. 5. Georg Treu, 1907. Photo: Staatliche Kunstsammlungen, Dresden. 30. 6. Albertinum, Dresden. Main facade, 1934. Photo: Staatliche Kunst¬ sammlungen, Dresden. 30. 7. Albertinum, Dresden. First floor with the collection of ancient sculp¬ ture, 1905. Photo: Staatliche Kunstsammlungen Dresden. 30. 8. Albertinum, Dresden. Second floor with the collection of plaster casts, c. 1895. Photo: Staatliche Kunstsammlungen Dresden. 30. 9. Museum of Fine Arts, Moscow. Erection of the cast of the Toro Far¬ nese, 1908. Photo: Staatliche Kunstsammlungen Dresden. 30. 10. Floor plan of the Museum of Fine Arts, Moscow, Roman Klein with explanations by Tsvetaev and commentaries by Treu, 1897. Photo: Pushkin Museum of Fine Arts, Moscow. 30. 11. Museum of Fine Arts, Moscow. The Panathenaic Procession (detail). Leopold Armbruster, 2006. Photo: Pushkin Museum of Fine Arts, Moscow.

30. 12. Museum of Fine Arts, Moscow. Ivan Tsvetaev and Czar Nicolaus II at the inauguration, 13 June 1912. Photo: Pushkin Museum of Fine Arts, Moscow. 31.1. Display in Museum of Casts, Cornell University, Ithaca. Late nine¬ teenth century. Photo: Division of Rare and Manuscript Collections, Cornell University, NY. 31.2. Art Students Sketching from Casts, Cornell University, Ithaca. Late nineteenth century. Photo: Division of Rare and Manuscript Collec¬ tions, Cornell University, NY.

31.3. Edward Robinson, c. 1905. Photo: Metropolitan Museum of Art, New York.

31.4. Arrangement of the Cast Collection at the Museum of Fine Arts, Bos¬ ton. From: E. Robinson, Museum of Fine Arts, Boston: Catalogue of Casts, Part III: Greek and Roman Sculpture (Boston, Mass., 1900). 31.5. Casts of the pedimental sculptures from the Temple of Afaia at Aegina, Greece (Munich and Athens) as displayed in the Museum of Fine Boston. Arts, Boston, c. 1900. Photo: Museum of Fine Arts, 31.6. Title Page of Alfred Emerson's Illustrated Catalogue of the Antiquities and Casts ofAncient Sculpture in the Elbridge G. Hall and Other Col¬ lections (Chiacago, 111., 1906-7). 682 List of Figures

31.7. The present day Cast Gallery at the Slater Museum, Norwich, Con¬ necticut. Photo: Slater Museum.

31.8. Selection of casts of statues for sale in the catalogue of Boston cast making firm Caproni Brothers: Catalogue of Plaster Reproductions of Antique, Medieval, and Modern Sculpture (Boston, Mass., 1911). 31.9. Student restoring cast in Prof. Stephen Miller's cast seminar, Classics Department, University of California, Berkeley. Photo: Classics De¬ partment, University of California, Berkeley.

32. 2. South-east corner of the Main Hall of the Auckland Museum, Princes Street, c. 1882. © Auckland War Memorial Museum.

32. 5. Main Hall of the Auckland Museum, Princes Street, showing the Apollo Belvedere and giraffe skeleton, c. 1882. © Auckland War Memorial Museum.

33. 1. Soane's cast of the capital of the Temple of Jupiter Stator (Castor and Pollux), Rome. Arthur Patrick Mee, August 28 1818. Watercolour on paper, 61.5 x 42.1 cm. Sir John Soane's Museum, London, SM Vol. 83, 18. Courtesy of the Trustees of Sir John Soane's Museum. 33. 2. Detail of casts in the Monk's Parlour at Sir John Soane's Museum, London, made by Thomas Palmer and Sons, c. 1824-25. Photo: Ole Woldbye.

33. 3. The Flight of Aeneas from Troy, Robson and Estall, 1833. Cast of a roundel by John Bacon, 1769, Sir John Soane's Museum, London, SM H24. Courtesy of the Trustees of Sir John Soane's Museum. 33. 4. The Tivoli Recess, engraving in Sir John Soane's 1835 Description of the Residence of Sir John Soane, Architect, privately printed. Sir John List of Figures 683

Soane's Museum, London. Courtesy of the Trustees of Sir John Soane's Museum.

33. 5. The Students' Room (or Upper Drawing Office) at Sir John Soane's Museum, London. Photo: Ole Woldbye. 34. 1. The first seat of the institute of Archaeology in the Piazza del Capita- niato, Padua, at the time of its demolition, 1935. The Sala dei Giganti on the left. UPA, Fototeca dei Consorzi edilizi. Photo: Turola. Courtesy of the University of Padua.

34. 2. The new building of the Facolta di Lettere e Filosofia, the Liviano, overlooking the Piazza del Capitaniato, Padua, 1939. UPA, Fototeca dei Consorzi edilizi. Photo: Turola. Courtesy of the University of Padua.

34. 3. The original plan of the Museo di Scienze Archeologiche e d'Arte, Padua (Liviano project). G. Ponti. From: Polacco, Tl Museo di Scienze Archeologiche', pi. 1 (drawing retouched by S. Tinazzo). 34. 4. The Impluvium in the western section of the Museum (the Plaster Cast Gallery), G. Ponti. Museo di Scienze Archeologiche e d'Arte, Univer¬ sity of Padua. UPA, Fototeca dei Consorzi edilizi. Photo: Viali. Cour¬ tesy of the University of Padua. 34. 5. Anatomie. Achille Funi, 1942. Fresco. Palazzo Bo, Hall of the Faculty of Medicine, University of Padua. Photo: M. Bortolato. Courtesy of the University of Padua. 34. 6. The 1960s reassessment of the plaster cast collection of the Museo di Scienze Archeologiche e d'Arte, University of Padua. From: I. Fava- retto, II Museo del Liviano a Padova (Padova, 1976), p. 52 fig. 17. 34. 7. The impluvium after the restoration of 1999-2004, in the Museum (the Plaster Cast Gallery), Museo di Scienze Archeologiche e d'Arte, Uni¬ versity of Padua. Photo: M. Bortolato. Courtesy of the Department of Archaeology, University of Padua. 35. 1. Aynhoe Park, Aynhoe. Seventeenth century, renovated by Sir John Soane in the late eighteenth century. Photo: © Paul Barker. 35. 2. The Soane Staircase, Aynhoe Park. Photo: © J. Perkins. 35. 3. The Aston Gallery, Aynhoe Park. Restored by M. Aston, 2007. Photo: © J. Perkins. 35. 4. Bust with Lips. Reduced plaster version (h: 66.04 cm) of Giovanni An- toniazzi's marble original from 1991 (total h: 5 m), in Pietrasanta, Italy. Aynhoe Park. Photo: © J. Perkins. 35. 5. The Entrance Hall, Aynhoe Park. Photo: © J. Perkins. 35. 6. The Architectural Model Room, Aynhoe Park. Photo: © Mel Yates. 684 List of Figures

35. 7. The Library, Aynhoe Park. Photo: © Mel Yates. 35. 8. The Workshop, Aynhoe Park. Photo: © J. Perkins. 35. 9. Joan Arc. Paul 1881. of Dubois, Fragmentary plaster cast, h: 2.74 m. Photo: © J. Perkins.

36. 1. Exposition Images de I'antiquite. Musee de Louvain-la-Neuve (exten¬ sion), 2002. © Musee de LLN / Photographic J.-P. Bougnet. 36. 2. Exposition Traits d'union. Portraits graves dufonds S. Lenoir. Musee de Louvain-la-Neuve, 2006. © Musee de LLN / Photographic* J.-P. Bougnet. 36. 3. Exposition Traits d'union. Portraits graves du fonds S. Lenoir. Musee de Louvain-la-Neuve, 2006. © Musee de LLN / Photographie: J.-P. Bougnet. 36. 4. La boite aux moulages. Musee de Louvain-la-Neuve, 2007. © Musee de LLN / Photographie: J.-P. Bougnet. 36. 5. La boite aux moulages (detail). Musee de Louvain-la-Neuve, 2007. © Musee de LLN / Photographie: J.-P. Bougnet. 36. 6. Vitrine Faune et Silene dans Pexposition Goya, Miro, Picasso. Estampes espagnoles. Musee de Louvain-la-Neuve, 2007. © Musee de LLN / Pho¬ tographie: J.-P. Bougnet. List of Colour Plates

5. A. Plan of Nonsuch as recovered by excavation in 1959, the extent of the stucco decorations on the exterior walls outlined in red. © Martin Biddle.

5. B. Nonsuch: the south-west tower from the south, detail from a watercol¬ our Joris by Hoefhagel, 1568. The lower storey of the tower is con¬ cealed behind the 14ft high wall of the Privy Garden. © In private possession.

5. C. Nonsuch: computer reconstruction (Simon Hayfield; provisional state) of the south-west tower based on all available contemporary illustrations, and the evidence of archaeology, written sources, and the surviving fragments of stucco and slate. © Nonsuch Palace Reconstruction Project/ Martin Biddle/Simon Hayfield.

6. A. Cast collections and princely collections including casts, 1767. © Stef- fen Zarutzki and Charlotte Schreiter (based on F. W. Putzger, Histori- scher Schulatlas, Berlin, 1923, pp. 94-95; 'Deutschland im 18. Jahr- hundert (1786)'; (detail)).

6. B. Distribution of plaster casts in Central Germany between 1771 and 1778. © Steffen Zarutzki and Charlotte Schreiter (based on F. W. Putzger, Historischer Schulatlas, Berlin, 1923, pp. 94-95; 'Deutsch¬ land im 18. Jahrhundert (1786)'; (detail)). 6. C. Distribution of plaster casts and copies of antique statues in alternative materials between 1779 and 1800. © Steffen Zarutzki and Charlotte

Schreiter (based on F. W. Putzger, Historischer Schulatlas, Berlin,!923, pp. 94-95; 'Deutschland im 18. Jahrhundert (1786)'; (detail)).

15. A. Un moulage sur nature (Live body moulding). Edouard Dantan, 1887. Oil on canvas, 1.65 x 1.315 m. Goteborgs Konstmuseum, Goteborg. From: E. Papet (ed.), A flew de peau. Le moulage sur nature au XIXe siecle, exh. cat. Paris 2001-2002 (Paris, 2001), p. 131.

16. A. Ecce puer (Behold the Child). Medardo Rosso, 1906. Detail of hollow interior, wax and plaster, h: 43.8 cm. Galleria d'Arte Moderna Ricci- Oddi, Piacenza. Photo: Henry Lie, Harvard Art Museum/Straus Center for Conservation and Technical Studies. 686 List of Colour Plates

16. B. Aetas aurea (The Golden Age). Medardo Rosso, 1886-7. Detail of back, wax and plaster, h: 51 cm., Galleria Civica d'arte Moderna e Contemporanea, Turin, inv. 5/110. Photo: Henry Lie, Harvard Art Museum/Straus Center for Conservation and Technical Studies.

16. C. Enfant au sein (Child at the Breast). Medardo Rosso, 1889. Wax, plaster and wood, h: 56 cm. Galleria Civica d'Arte Moderna e Con¬ temporanea, Turin, inv. 5/111. Photo: Henry Lie, Harvard Art Mu¬ seum/Straus Center for Conservation and Technical Studies.

16. D. Came altrui (The Flesh of Others). Medardo Rosso, 1883. Wax and plaster, h: 23.5 cm. Private collection, inv. 2003.6. Photo: D. James Dee. Image courtesy of Peter Freeman, Inc. 16. E. Bambino ebreo (Jewish Boy). Medardo Rosso, 1892-3. Bronze with plaster investment, h: 26 cm. Museum Folkwang, Essen, inv. p67. Photo: Jens Nober.

20. A. The Holy Sepulchre in the Collegiate Church of Gernrode, c. 1090. Cast and moulded plaster, inner sepulchre: h: 2.72 m, w: 2.7 m; figure, h: 2.4 m. Photo: © Helfried Weidner, Landesamt fur Denkmalpflege Sachsen-Anhalt.

20. B. Choir screen, north side, with Sts Mathias, Bartholomew, Peter, Christ, Sts Andrew, Matthew and Thomas, c. 1200. Church of Our Lady, Halberstadt Polychrome plaster on limestone. Photo: Torsten and Daniela Arnold. © Torsten and Daniela Arnold and Landesamt fur Denkmalpflege und Archaologie Sachsen-Anhalt. 20. C. Choir screen, south side, with James Minor (Alphaei), Philip, James Major (Zebedaei), The Virgin and Child, John, Simon, Judas, c. 1200. Church of Our Lady, Halberstadt. Polychrome plaster on limestone. Photo: Torsten and Daniela Arnold. © Torsten and Daniela Arnold and Landesamt fur Denkmalpflege und Archaologie Sachsen-Anhalt. 20. D. Choir screen, south side, upper frieze, c. 1200. Church of Our Lady, Halberstadt. Polychrome plaster on limestone. Photo: Torsten and Da¬ niela Arnold. © Torsten and Daniela Arnold and Landesamt fur Denk¬ malpflege und Archaologie Sachsen-Anhalt. 20. E. Choir screen, north side. Church of Our Lady, Halberstadt. Polychro¬ me plaster on limestone. Photo: Torsten and Daniela Arnold. © Tors- List of Colour Plates 687

ten and Daniela Arnold and Landesamt fur Denkmalpflege und Ar¬ chaologie Sachsen-Anhalt. 20. F. Choir screen, north side, with incisions as preparatory design for the painted angel in the spandrels. Church of Our Lady, Halberstadt. Poly¬ chrome plaster on limestone. Photo: Torsten and Daniela Arnold. © Torsten and Daniela Arnold and Landesamt fur Denkmalpflege und Archaologie Sachsen-Anhalt.

20. G. Choir screen, south side. Virgin and Child. Sun insulation in June 2003. Church of Our Lady, Halberstadt. Photo: Torsten and Daniela Arnold. © Torsten and Daniela Arnold and Landesamt fur Denkmal¬ pflege und Archaologie Sachsen-Anhalt.

20. H. Choir screen, north side. St. Matthew, yellowish synthetic resin coat. Church of Our Lady, Halberstadt. Photo: Torsten and Daniela Arnold. © Torsten and Daniela Arnold and Landesamt fur Denkmalpflege und Archaologie Sachsen-Anhalt.

20.1. Choir screen, north side. St. Peter, before (2003) and after intervention (2008). Church of Our Lady, Halberstadt. Photo: Daniela Arnold. © Torsten and Daniela Arnold and Landesamt fur Denkmalpflege und Archaologie Sachsen-Anhalt.

21. A. Flora Farnese, cross-section. Plaster, 3.42 m. Cast by Cesare Sebastiani in Rome, 1650, from the Roman second-century AD marble statue, now in the National Archaeological Museum, Naples. Real Academia de Bellas Artes de San Fernando, Madrid, inv. V-2. Photo: Authors.

24. A. Dactyliotheca Universalis, 4053 gem impressions in 76 drawers. Philipp Daniel Lippert, 1755-1762 (vols 1-3), 1776 (suppl.). Mixture of talcum and isinglass, wood, coloured and gilded paper, bone, leather. Each volume, 1: 48 cm, h: 19 cm, w: 38 cm. Archaologisches Institut der Georg-August-Universitat, Gottingen, inv. A 885. Photo: Stephan Eckardt, © Archaologisches Institut der Georg-August- Universitat Gottingen.

24. B. Dactyliotheca by James Tassie, cabinet by J. Roach (?), c. 1786. Ve¬ neered wood, brass, white paste imitating porcelain, 1: 47 cm, w: 52.2 cm, h: 34.6 cm. Archaologisches Institut der Georg-August-Universi¬ tat, Gottingen, inv. A 1358. Photo: Stephan Eckardt, © Archaologisches Institut der Georg-August-Universitat Gottingen.

24. C. Drawer no. 2 from the dactyliotheca by James Tassie (as in PL 24. B) with gem impressions of Dionysian content. Red sulphur, wood, col¬ oured and gilded paper, brass. 29 x 22.6 cm. Photo: Stephan Eckardt, © Archaologisches Institut der Georg-August-Universitat Gottingen. 688 List of Colour Plates

24. D. Selection of glass gems from drawer no. 29 from the dactyliotheca by James Tassie (as in PI. 24. B) with 50 removable casts of gems. Black, light green, and red-brown glass. 29 x 22.6 cm. Photo: Stephan Eckardt, © Archaologisches Institut der Georg-August-Universitat Gottingen.

25. A. Plaster, red sulphur and electrotype impressions of intaglios and cameos. Nineteenth century. 9 x 8 cm (largest piece). Beazley Archive, Oxford. Photo: C. Wagner. 25. B. White plaster impressions made for the Antikensammlung, Berlin. German workshop, c. 1830. L: 22 cm, w: 17 cm, h: 3 cm (open box); behind it a typical box of 'Paoletti Impronte' (Paoletti workshop), Rome, c. 1800, L: 24.5 cm, w: 15 cm, h: 4.5 cm. Beazley Archive, Oxford, inv. no. 21 and 51. Photo: C. Wagner. 27. A. Copy of stained glass panel of St Luke from St Mary's Hitcham, Bucks. Octavius Hudson, c.1845. Watercolour, 75 x 54 cm. Victoria and Albert Museum, London, inv. 4164.8. Photo: Images/Victoria and Albert Museum.

33. A. Royal Academy lecture drawing showing a student on a ladder, with a rod, measuring the Corinthian order of the temple of Jupiter Stator (Castor and Pollux) in Rome. Drawn by Henry Parke for Sir John Soane, probably 1814-1820. Pencil, pen and watercolour on paper, 94 x 63.4 cm. Sir John Soane's Museum, London, SM 23/9/3. Courtesy of the Trustees of Sir John Soane's Museum.

33. B. View of Soane's lower office at 12 Lincoln's Inn Fields, James Ad¬ ams, July 20 1808. Watercolour on paper, 44.9 x 62.1 cm. Sir John Soane's Museum, London, SM Vol. 83, 33. Courtesy of the Trustees of Sir John Soane's Museum.

33. C. Sectional perspective Design for the Museum looking east, James Adams, June 25 1808. Watercolour on paper, 61.0 x 41.1 cm. Sir John Soane's Museum, London, SM Vol. 83, 37. Courtesy of the Trustees of Sir John Soane's Museum.

33. D. Section through the Museum looking east, John Soane Jr., 1809. Water- colour on paper, 127.0 x 69.7 cm. Sir John Soane's Museum, London, SM 14/6/6. Courtesy of the Trustees of Sir John Soane's Museum. 33. E. View of the Museum, looking east, Joseph Michael Gandy, 1811. Wa¬ tercolour on paper, 137 x 80 cm. Sir John Soane's Museum, London, SM P384. Courtesy of the Trustees of Sir John Soane's Museum.

36. A. Le jardin des pldtres. Couverture du dossier presente a la Fondation Roi Baudouin en 1998. Conception graphique: Tanguy Colles. List of Colour Plates 689

B. La vitrine du 36. Jardin des pldtres au musee de Louvain-la-Neuve en 2001. © Musee de LLN / Photographie: J.-P. Bougnet. 36. C. Vitrine de quelques collections didactiques de l'Universite dans le cadre des expositions celebrant le 575e anniversaire de l'UCL. Musee de Lou- vain-la- Neuve, 2001. © Musee de LLN / Photographie: J.-P. Bougnet.