The gift of a god The story of the University of ’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 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 ’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. The Suez Crisis closed the of the Elgin Marbles was to the planned for the replica to be cast canal, stopping the Kyrenia’s Australian nineteenth century, and Apollo in Italy.23 The Fonderia Artistica route. The cost of air freight was Belvedere to the eighteenth’.31 Yet Ferdinando Marinelli (Ferdinando prohibitive, and for many months the even at the ceremony not everything Marinelli Artistic Foundry), which replica sat waiting to leave the foundry, went smoothly—on the advice of lies on the outskirts of Florence and only making the trip in May 1958, by contemporary Greek-speakers, the dates its operations back to the early which time the Olympic Games had inscription for the statue’s plinth 17th century, is the likely producer come and gone, Sir Frank Beaurepaire spelled ‘Artemision’ as ‘Artemission’, of the replica; on its website the had died, and George Christodoulou which, although not an actual foundry still proudly displays an had succeeded Dimitiri Lambros as mistake, seems to have struck image of a full-size replica of the Greek ambassador to Australia.27 The some in attendance as a glaring bronze God of Artemision, titled delay was so long that even the student misspelling, prompting classics ‘Poseidon of Athens’, and states that body began to notice, and the student professor A.K. Hunt to publish the company’s moulds were ‘created newspaper Hark! ran a satirical article an explanation in a subsequent through moulds made directly on the speculating that President Nasser issue of Farrago.32 Most jarring of original’. Unfortunately, the infamous might have nabbed the sculpture for all, however, was that during the Florence floods of 1966 destroyed the himself.28 Eventually the Suez Canal ceremonial presentations someone foundry’s records, so any documents reopened and the bronze was able to in the audience called out ‘Timeo from the fabricator that could confirm make its voyage, though the Kyrenia Danaos et dona ferentes!’—the that the University of Melbourne’s was no longer making the journey and famous line from Virgil meaning, replica was cast there have been lost.24 an Italian ship was employed for the roughly, ‘Beware of Greeks bearing Minutes of Greek Orthodox job.29 gifts’. It’s hard to imagine a time Community meetings held in The replica was formally presented when a Latin heckle would be well Melbourne record that moulds by Ambassador Christodolou to enough understood for anyone to get were indeed taken from the original the University of Melbourne on the ‘unhappy joke’, but apparently statue in Athens and sent to Italy for 10 September 1958. At the ceremony it was understood enough to cause casting.25 The finished replica was both Burke and Christodoulou offence among the Greek officials in then to be shipped to Melbourne delivered impassioned and eloquent attendance.33 Their reaction seems on the Greek-flaggedKyrenia , a speeches, later published in the justified, given the Greek Orthodox vessel that also brought many waves University Gazette, which praised Community’s collective generosity of Greek emigrants to new lives in the statue’s aesthetic and symbolic in funding the significant costs

20 University of Melbourne Collections, issue 23, December 2018 Wolfgang Sievers, Beaurepaire Centre forecourt, c. 1959, silver gelatin photographic print, 25.0 × 19.0 cm. Unit 61, file 529, 1986.0037, Records of the Department of Fine Arts, University of Melbourne Archives. © National Library of Australia.

of producing and transporting the sculpture.34 The heckle is an example of the discrimination frequently faced by Greek-Australians during that period, and to make a joke at their expense in the midst of presenting such a generous gift, intended to be a symbol of friendship and unity, seems particularly pointed and mean- spirited. From the beginning there were concerns about the statue’s location.35 Its position outside the Beaurepaire Centre (pictured right) made it easily accessible to anyone who might come onto campus, and at the time the sight of a naked, life-sized human figure was still a controversial one in Australia.36 After a couple of incidents, including a paint attack on the sculpture within weeks of the presentation, discussions on a suitable alternative location flared up.37 Burke wrote a stirring article for Farrago, condemning the act and calling upon students not to be bystanders when witnessing such vandalism, while acknowledging that ‘The special problem is that nude statues in open or unprotected places are still the exception in Australia’.38 Only months later there was a third attack, when in 1959 a vandal disfigured the sculpture’s penis with a hacksaw. The perpetrator was arrested, and Burke appeared as a witness for the

Steve Martin and Zora Sanders The University of Melbourne’s God of Artemision 21 Office of Rae Featherstone (University of Melbourne architect, 1957–72), Zeus in Wilson Hall foyer (detail), 4 November 1958, blueprint, 29.0 × 60.0 cm. Unit 48, file 1/174, 1978.0039, Joseph Terence Burke, Personal Papers, University of Melbourne Archives. © University of Melbourne.

prosecution, though perhaps not In 1965 Professor Brian Lewis, the sculpture walk, to be provided as entirely effectively, as the young man university’s first dean of architecture, a downloadable app, which the successfully appealed against his made a bid to move the sculpture to museum will offer to encourage conviction.39 Eric Thake, director of the Architecture Building that he visitation of the university’s sculpture art at the Royal Melbourne Technical had designed, and which was soon collection on campus. The replica College and a distinguished sculptor, to be completed. When rebuffed, God of Artemision will be featured was employed to model in plasticine a Lewis wrote to Burke: ‘I suppose on the walk as arguably the most new penis for the statue, and worked that in the University of Melbourne significant of a large number of with the Metallurgy Department at even Olympus is controlled by the casts of ancient works held in the University of Melbourne to cast Vice-Chancellor’.44 Surprisingly, the University of Melbourne Art and re-attach the appendage.40 Burke the replica was lent to the City Collection. These copies, mostly stated (possibly in exasperation) that of Melbourne for display in the electrotypes and plaster casts of he would support the idea of casting Treasury Gardens during the 1969 ancient works, were purchased in the a bronze fig leaf to hide the statue’s Moomba Festival. After returning early 20th century from British and nudity until ‘more enlightened times to the university it eventually Greek museums for teaching art in when it could be removed’.41 Happily, settled in a new home inside the the 19th-century classical tradition.47 the more enlightened times arrived Beaurepaire Centre, in the trophy But a replica in bronze is more than swiftly, and the censorship by fig leaf hall overlooking the pool. just a copy; it is a continuation of the does not appear to have ever been Unfortunately, chlorine is anathema original lost-wax production process, applied. to bronze, and signs of the much which uses a series of moulds in wax As a result of these attacks, an feared ‘bronze disease’ were noticed and plaster or clay to produce one or alternative location for the statue on the statue’s surface, necessitating many editions of the same object in was proposed, inside the foyer of the another move in 1994 to the bronze. Burke himself recognised the new Wilson Hall, built to replace courtyard of the Elisabeth Murdoch importance of the replica’s material the Gothic Revival structure that building.45 Here the god remains, in and production method, saying at the had been destroyed by fire in 1952.42 a location largely safe from vandals, presentation ceremony: ‘this is not a A scale drawing (pictured above) but seldom seen by many in the plaster copy but a bronze replica. I was requested from the office of the university community, let alone the stress this point because … A replica university architect, Rae Featherstone, wider public. in bronze is cast in the same material to help visualise Burke’s proposal of Today, the Ian Potter Museum of and by the same method from a the replica in the modern interior, but Art, which cares for the University of reconstructed mould printed, so to the move never eventuated, because Melbourne Art Collection, including speak, from the original’.48 Because of concerns voiced by the vice- the Classics and Archaeology the lost-wax process necessarily chancellor, Sir G.W. Paton, about the Collection and the public art, is involves the creation and destruction limited space and heavy foot-traffic in redeveloping its 2002 Sculpture on of a wax model, all bronzes cast the foyer.43 campus booklet46 into a self-guided this way are, in one sense, replicas.

22 University of Melbourne Collections, issue 23, December 2018 The ‘original’ that stands in Athens Acknowledgement: The authors gratefully 6 United Nations gifts: Poseidon of Artemission: today may have simply been one of acknowledge the research and translation Gift ID: 129G, New York: United Nations, assistance generously provided by Juliana www.un.org/ungifts/content/poseidon- an edition, or a replica of an earlier Charpantidou, PhD candidate at the Panteion artemission (viewed 9 September 2018). bronze made to order, and in this University of Athens. 7 After our research, the sculpture’s title, date sense the statue standing now in and accession number in the University of Steve Martin is acting collections manager at Melbourne Art Collection catalogue were the Elisabeth Murdoch courtyard is the Ian Potter Museum of Art, University of amended to: Untitled (Replica God of simply a (much) later edition of the Melbourne. Zora Sanders is a master’s student Artemision), (c. 1956), 1958.0025. Formerly same work. at the Grimwade Centre for the Conservation the catalogue details were Untitled (Zeus or of Cultural Material. She is a former editor of Poseidon), (c. 1940 cast), 1956.0016. The replica tells an important Meanjin quarterly. 8 Jaynie Anderson, ‘Interrogating Joe Burke story about the ties between Greece and his legacy’, Melbourne Art Journal, and Australia in the mid-20th no. 8, 2005, pp. 88–101. 1 Rachel Kousser, ‘The Roman reception of 9 J. Burke to D. Lambros, 25 July 1955. Unit century, as well as connecting many Greek art and architecture’, in Clemente 61, file 531, 1986.0037, Records of the significant figures of the period, such Marconi (ed.), The Oxford handbook of Greek Department of Fine Arts, University of as Joseph Burke, Dimitri Lambros and Roman art and architecture, New York: Melbourne Archives (hereafter UMA). and Frank Beaurepaire. These were Oxford University Press, 2015, pp. 374–94; 10 Marathon boy, c. 1952, plaster cast, Seán Hemingway, The horse and jockey from 136 × 46 × 46 cm. NM2008.17, presented people who helped shape Australian Artemision: A bronze equestrian monument of to the Nicholson Museum in 1954 culture in a period in which Australia the Hellenistic period, Berkeley: University of by Ambassador Lambros: ‘the cast was rapidly changing, modernising California Press, 2004, p. 146. of “Marathon Boy”, presented to the 2 Hemingway, The horse and jockey from University of Sydney on the occasion of and developing a new, outward- Artemision, p. 37. its centenary celebrations, by the Greek looking identity. They saw the replica 3 Carol Mattusch, Classical bronzes: The art government and the University of Athens bronze as an expression of this new and craft of Greek and Roman statuary, as a token of their gratitude to this country Ithaca, NY: Cornell University Press, 1996, for assistance it gave to Greece during and identity, and of the values they shared p. 114; Olga Tzachou-Alexandri, ‘Some after the recent world war’ (A.D. Trendall, as individuals: the importance of remarks on the bronze God of Artemision’, Report to University of Sydney Senate, artistic expression, the necessity of in Carol Mattusch, Amy Brauer and Sandra 1954, University of Sydney Archives). Our Knudsen (eds), From the parts to the whole: Acta thanks to Maree Clutterbuck, collections collaboration and friendship between of the 13th International Bronze Congress, held manager, Sydney University museums, for nations, and the democratic ideals at Cambridge, Massachusetts, May 28 – June 1, her assistance here. fought for in World War II, which 1996, Portsmouth, RI: Journal of Roman 11 J. Burke to D. Lambros, 24 February 1955. led to migration programs by the Archaeology, 2000, pp. 86–95. Unit 61, file 531, 1986.0037, Records of the 4 John Boardman, Greek art, : Thames Department of Fine Arts, UMA. Australian Government to support & Hudson, p. 53. 12 D. Lambros to J. Burke, 16 July 1955. the post-war immigration of Greeks 5 Tzachou-Alexandri, ‘Some remarks on the Unit 61, file 531, 1986.0037, Records to Australia. The university’s God bronze God of Artemision’, pp. 86–95. At the of the Department of Fine Arts, UMA. time of writing, the National Archaeological The precursor to Burke’s 1954 speech was of Artemision is a replica, but it is Museum in Athens refers to this work by probably his article ‘Lessons from Greece: also a profoundly significant object two different titles: ‘Bronze statue of Zeus or Australia’s links with Mediterranean’, The in its own right, with a story and Poseidon’ (on the museum’s online catalogue) Family: Monthly Greek Literary Magazine, and ‘Poseidon of Artemision’ (on the exhibition vol. 3, no. 31, 1 September 1953, pp. 49–50. history that deserve recognition and label); Hemingway, The horse and jockey from Unit 29, file 13/25, 1978.0039, Joseph appreciation. Artemision, p. 87. Terence Burke, Personal Papers, UMA.

Steve Martin and Zora Sanders The University of Melbourne’s God of Artemision 23 13 Burke’s personal approach to securing gifts 22 Charpantidou, ‘Greek Orthodox Community’. 38 Joseph Burke, ‘Zeus—what the Profs. Say’, of cultural material is evident in a speech he 23 Charpantidou, ‘Greek Orthodox Community’. Farrago, 23 September 1958, p. 8; J. Burke delivered at the annual dinner of the Society 24 Fonderia Artistica Ferdinando Marinelli, to W. Tickner, 13 April 1961, enclosing of Collectors, held in the private dining room History, www.fonderiamarinelli.it/en/storia draft article for Farrago, ‘Zeus and the of the University of Melbourne Union on (viewed 9 September 2018); Fonderia Artistica vandals’. Unit 61, file 529, 1986.0037, 22 October 1971: ‘For one gentleman to ask Ferdinando Marinelli, emails to Steve Martin, Records of the Department of Fine Arts, another for money, however good the cause, 13 and 14 May 2016. UMA. can be … deplorable. The civilised procedure 25 Charpantidou, ‘Greek Orthodox Community’. 39 ‘Appeal: Court of General Sessions of is to put opportunities for generosity in the 26 Andrea Cleland, ‘The pear tree: A study the Peace, Central Bailiwick, Melbourne way of one’s friends so that they don’t notice of Greek-Australian families 50 years after (restricted)’. J. Burke, 26 November 1959. it until later’. Unit 29, file 14/6, 1978.0039, migration’, Greek Research in Australia: Unit 61, file 529, 1986.0037, Records of the Joseph Terence Burke, Personal Papers, UMA. Proceedings of the Biennial International Department of Fine Arts, UMA. 14 D. Lambros to J. Burke, 31 January 1956. Conference of Greek Studies, Flinders University, 40 J. Burke to G. Paton, 17 February 1961. Unit 61, file 531, 1986.0037, Records of the June 2011, Adelaide: Flinders University, Unit 61, file 529, 1986.0037, Records of Department of Fine Arts, UMA. Department of Language Studies—Modern the Department of Fine Arts, UMA; Eric 15 Sir Frank Beaurepaire to J. Burke, 25 July Greek, 2013, pp. 478–89; D. Lambros to J. Burke, Thake, ‘Advice to payee’, University of 1955. Unit 61, file 531, 1986.0037, Records of 11 July 1955. Unit 61, file 531, 1986.0037, Melbourne, handwritten note [c. 1961], the Department of Fine Arts, UMA. Records of the Department of Fine Arts, UMA. verso. MS 9826, file 2/3, Eric Thake Papers, 16 Martin Reiner (1900–1973), Bust of Emil 27 Charpantidou, ‘Greek Orthodox Community’. 1930–1982, State Library Victoria. Zátopek, 1955, bronze, 65 × 57 × 37 cm. 28 Big Dour, Hark the Chief Cop Reporter, 41 Burke to Paton, 21 March 1961. 1956.0020, gift of the Hungarian Olympic ‘Authorities baffled by missing statue’, cutting 42 See Jason Benjamin and Emily Wubben, Committee in commemoration of the Games from Hark!, 24 September 1957. Unit 61, file Architectural ornament: The history and art of the XVI Olympiad 1956, University of 529, 1986.0037, Records of the Department of of Wilson Hall at the University of Melbourne Art Collection. Fine Arts, UMA. Melbourne, Cultural Collections 17 J. Burke to Sir Frank Beaurepaire, 21 July 29 Charpantidou, ‘Greek Orthodox Community’. Department, University of Melbourne, 2012. 1955. Unit 61, file 531, 1986.0037, Records of 30 J. Burke and G. Christodoulou, ‘A gift from the 43 G. Paton to J. Burke, 30 March 1960. the Department of Fine Arts, UMA. Greek Orthodox Community of Melbourne’, Unit 61, file 529, 1986.0037, Records of the 18 Leonard French (1928–2017), Untitled University of Melbourne Gazette, vol. 14, no. 3, Department of Fine Arts, UMA. (Symmetry of sport), 1956, enamel paint 22 December 1958, pp. 39–41. Unit 61, file 529, 44 B. Lewis to J. Burke, 2 July 1965. Unit 61, on concrete, approx. 550 × 198 × 711 cm. 1986.0037, Records of the Department of Fine file 529, 1986.0037, Records of the 1956.0034, commissioned 1956, University Arts, UMA. Department of Fine Arts, UMA. of Melbourne Art Collection; R. MacDonald 31 Burke and Christodoulou, ‘A gift from the Greek 45 Lara Travis, [Condition details]: ‘Removed to J. Burke, with transcript notes by Alan Orthodox Community’, p. 41. from Beaurepaire Centre. Bronze disease McCulloch, 20 March 1956. Unit 61, file 531, 32 Harold Arthur Kinross Hunt, ‘Work of art’, due to chlorine’, 20 May 1995, University 1986.0037, Records of the Department of Farrago, 23 September 1958, p. 8. of Melbourne Art Collection database. Fine Arts, UMA. 33 G. Christodoulou to J. Burke, 6 October 1958. 46 Lorinda Cramer and Lisa Sullivan, Sculpture 19 Lambros to Burke, 31 January 1956. Unit 61, file 529, 1986.0037, Records of the on campus: University of Melbourne Parkville 20 Georgia- Juliana Charpantidou, ‘Greek Department of Fine Arts, UMA. campus, Ian Potter Museum of Art, Orthodox Community of Melbourne and 34 Charpantidou, ‘Greek Orthodox Community’. University of Melbourne, 2002. Victoria: Sociological approaches’ (working 35 Christodoulou to Burke, 6 October 1958. 47 See for instance Andrew Jamieson and title), doctoral thesis, Panteion University of 36 J. Burke to G. Paton, 21 March 1961. Unit 61, Hannah Gwyther, ‘Casts and copies: Athens (in progress). file 529, 1986.0037, Records of the Department Ancient and classical reproductions’, 21 Nicholas Vlahogiannis, ‘Greeks’, eMelbourne, of Fine Arts, UMA. University of Melbourne Collections, issue 8, School of Historical and Philosophical 37 J. Burke to H. Hunt, 29 and 30 September 1958. June 2011, pp. 47–50. Studies, University of Melbourne, 2008, Unit 61, file 529, 1986.0037, Records of the 48 Burke and Christodoulou, ‘A gift from the www.emelbourne.net.au/biogs/EM00672b.htm. Department of Fine Arts, UMA. Greek Orthodox Community’, p. 41.

24 University of Melbourne Collections, issue 23, December 2018