The Gift of a God the Story of the University of Melbourne’S God of Artemision Steve Martin and Zora Sanders

The gift of a god The story of the University of Melbourne’s God of Artemision Steve Martin and Zora Sanders In 1926 some fishermen working off having never made it to a Roman villa, and now on permanent display in the Cape Artemision in Greece hauled in private garden or public pedestal.2 National Archaeological Museum in an unusual catch. In their nets they The bronze was created in about Athens, Statue of Zeus or Poseidon found a muscular bronze arm, which 460 BCE, probably in one of the many (pictured below) is acknowledged as later proved to belong to a spectacular, temporary foundries established at an extremely rare and particularly fine life-sized statue of a Greek god. The the base of the Acropolis in Athens. surviving example of Greek bronze bronze idol had lain in a sunken Scholars agree that the figure is statuary of the Early Classical period.5 Roman galley, undiscovered for more that of a god, rather than a hero or In 1953 the Greek government than two thousand years; probably specific person.3 It bears a strong gave a bronze replica of the statue, the statue was plunder being shipped resemblance to other depictions of referred to as the Poseidon of to Italy between the second and early both Zeus and Poseidon, but because Artemision (c. 1953) to the United first century BCE—a time when there this god is missing his attribute—his Nations headquarters in New York, was a high demand for Greek art and identifying weapon or symbol—the where it remains on public display statuary among wealthy Romans.1 In question of whether he is Zeus (with in the General Assembly lobby.6 1928 the body of the statue, covered a cone-ended thunderbolt) or his The second official replica, known as with a protective crust of barnacles brother Poseidon (with a trident), Replica God of Artemision (c. 1956), and other marine accretions, was remains a source of scholarly debate.4 is part of the University of Melbourne lifted to the surface from the sea floor, Reassembled and conserved in 1929, Art Collection (pictured opposite).7 This cast was approved by the Greek government and today can be viewed on permanent display in the courtyard of the Dame Elisabeth Murdoch Building on the Parkville campus. How did a bronze replica of the God of Artemision end up in the grounds of a university in distant Melbourne? If the story were an ancient Greek drama, it would be led by the protagonist, followed closely by the secondary main character—the deuteragonist— while the third-most influential character would be understood as the tritagonist. The records tell us that the protagonist in this story was the first Herald Professor of Fine Arts 16 University of Melbourne Collections, issue 23, December 2018 Opposite: Unknown sculptor (Greece), Below: Attributed to Fonderia Artistica Statue of Zeus or Poseidon, c. 460 BCE Ferdinando Marinelli (near Florence), after (found on the sea bed near Cape Artemision unknown ancient Greek sculptor, Replica God in northern Euboea), bronze, height 209 cm. of Artemision, cast c. 1956 after an original of X15161, National Archaeological Museum, c. 460 BCE, bronze, approx. 202 × 210 × 50 cm. Athens. Photograph by Michael Turtle. 1958.0025, gift to the University of Melbourne © Michael Turtle, www.timetravelturtle.com/ by the Greek Orthodox Community of itinerary-ancient-athens-greece. Melbourne in 1958, in commemoration of the XVI Olympiad held in 1956, Classics and Archaeology Collection, University of Melbourne Art Collection. Photograph by Lee McRae. Steve Martin and Zora Sanders The University of Melbourne’s God of Artemision 17 at the University of Melbourne, the idea of the replica to decorate of the Beaurepaire Centre.11 In one Sir Joseph Burke (1913–1992). Our the newly designed Beaurepaire of the letters, Lambros revisits a well- deuteragonist and tritagonist are Physical Education Centre (now received speech on modern Greek respectively the Greek Ambassador called the Beaurepaire Centre).9 architecture that Burke had delivered to Australia from 1953 to 1956, His The replica was given as a symbol of to a captive audience 12 months Excellency Dimitri M. Lambros, the Greek–Australian ties forged in earlier while opening a modest and his successor (from 1956 to wars of the 20th century, as well as architectural exhibit at Melbourne’s 1961), His Excellency George to commemorate the centenary of Greek Consulate. Lambros had sent Christodoulou. These two diplomats the University of Melbourne and the Burke’s ‘concise eulogy’ to dignitaries make for compelling main characters XVI Olympiad. Cultural gifts were in Athens, after being encouraged because of their tireless efforts exchanged between Australia and by the Greek secretary to the working with Burke and the Greek Greece in the mid-20th century to legation, Mr Alexander Xydis, who Orthodox Community in Melbourne. honor Greek–Australian relations: had attended the 1954 opening and Finally, we have the antagonists: the the Melbourne donation was thought Burke’s speech ‘remarkable’.12 vandals who made their presence felt probably inspired by the gift by Perhaps this endorsement by Greek after the unveiling ceremony. the Greek government and the officials gave Burke the confidence Sir Joseph Burke (pictured University of Athens of a plaster cast to propose the idea of the bronze opposite) held the position of Herald of the sculpture known as ‘Marathon replica as a donation? After all, Chair of Fine Arts for 32 years, from boy’ to the Nicholson Museum on Burke had already been working 1946 to 1982; it has been said that ‘art the occasion of the University of with Lambros to prepare the history in Melbourne began with his Sydney’s centenary in 1954, as a foundations for classical statues, appointment in 1946’.8 Burke’s letters token of their gratitude for Australia’s showing the forethought to plan for discussing the sculpture are held in assistance to Greece during and after complementary plinths that would the Joseph Burke and Department World War II.10 be fabricated with marble imported of Fine Arts files at the University of In 1955, Joseph Burke’s from Greece.13 In August 1955 Burke Melbourne Archives, and references correspondence with Ambassador secured support for a gift of the to the statue start to appear during Lambros (stationed at the Greek replica from Ambassador Lambros, Melbourne’s summer of 1955, in Embassy in Canberra) outlined who in January 1956 confirmed the lead-up to the games of the the options for importing samples the official approval of the Greek XVI Olympiad, which were held in of Greek marble from Athens government.14 Melbourne in November–December to Melbourne. Burke had asked It was not difficult for Burke to 1956. The documents tell us that Lambros to help source the samples gain support for the idea from the Professor Burke, in consultation and to advise on the shipping of stone benefactor of the university’s sports with a close friend, Sydney-based for plinths that would support figure centre—the businessman, politician archaeologist and classics scholar statues that he was proposing (but and former champion swimmer Professor Dale Trendall, conceived had not yet sourced) for the forecourt Sir Frank Beaurepaire—because 18 University of Melbourne Collections, issue 23, December 2018 Professor Joseph Burke, c. 1954, photograph by Clifford Bottomley, silver gelatin photographic print, 25.0 × 15.3 cm. BWP/25159, Joseph Terence Burke, Personal Papers, University of Melbourne Archives. designed the Beaurepaire Centre, Roderick I. MacDonald (1922–2014) of Eggleston, MacDonald & Secomb, proposed from the start the idea of an artistic as well as an athletic centre. Burke applauded MacDonald for presenting a concept that upheld the ancient Greek ideal of the union between body and mind.17 In the spirit of this union, a mural was commissioned from Melbourne artist Leonard French: Untitled (Symmetry of sport), 1956, is a major work of art, an architectural feature of the building’s interior, and can be viewed on the first floor.18 Lambros took to Burke’s idea of the gift with great enthusiasm, writing to officials in Greece and quoting passages from Burke’s correspondence.19 He persuaded the board of the Greek Orthodox Community in Melbourne to raise funds towards the significant costs, and as a result the deal was approved.20 Lambros then went about rallying successful Melburnians of Greek background to support the donation. Australia’s post–World War II immigration program attracted Beaurepaire had already invited also in the University of Melbourne some 250,000 Greek emigrants, of Olympic countries to offer gifts that Art Collection.16 This portrait bust whom a large proportion settled in would adorn the building.15 One item by Martin Reiner was a gift of the Melbourne.21 Records held at the credited to this particular endeavour Hungarian Olympic Committee General State Archives in Athens and is a bronze bust (1955) of long- in commemoration of the 1956 the Greek Orthodox Community in distance runner Emil Zátopek, now Olympics. The young architect who Melbourne show that Lambros and Steve Martin and Zora Sanders The University of Melbourne’s God of Artemision 19 his successor, George Christodoulou, Australia, and the same vessel that qualities, and celebrated the bonds worked tirelessly with the Greek Lambros had earlier proposed to of friendship between Greece Orthodox Community to ensure that transport the samples of Greek marble and Australia.30 Burke said of the funds were raised and the gift to Melbourne.26 The replica was the bronze, ‘It is to our own age secured.22 ready by 1956, but world events then what the so called Theseus figure The Greek Orthodox Community intervened.

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