Cambridge University Press 978-0-521-88163-0 - Lord Elgin and Ancient Greek Architecture: The Elgin Drawings at the British Museum Luciana Gallo Frontmatter More information

Lord Elgin and Ancient Greek Architecture: The Elgin Drawings at the British Museum

This book analyses the rich and remarkable collection of archaeological drawings, now housed in the British Museum, drawn in Greece by a team of architects and artists in the service of Lord Elgin during his ambassadorial expedition to the Levant (1799–1803). Luciana Gallo offers a new interpretation of Elgin’s interest in antiquities and reveals the aims, innovative approach, and significant achievements of this specialised tour. She also assesses his contribution to the advancement of contemporary archaeological studies carried out by British and Continental scholars, in connection to the search for original sources to promote Greek Revival architecture. This is the first time that the bulk of the Elgin Drawings collection in the British Museum has been published. The volume will thus serve as an indispensable guide to scholars and students of ancient Greek architecture and sculpture, as well as of nineteenth-century architectural revivalism.

Luciana Gallo is a RIBA chartered architect and historic building consultant, practising in London. Her education and academic career started in Italy and developed in the United Kingdom where she received a Ph.D. in history of architecture at the University of London. She carried out extensive fieldwork in the Middle East on a European Union–funded project as a Research Associate within the School of Architecture, University of Liverpool, and is now involved in a research project on the reception of Graeco-Roman antiquity in modern Europe promoted by the University of Cambridge. She is the author of Il Politeama di Palermo e l’architettura policroma dell’Ottocento.

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L©go ak»ma qa idoÅme tiv amugdali”v n’anq©zoun ta m†rmara na l†mpoun ston žlio th q†lassa na kumat©zei

L©go ak»ma, na shkwqoÅme l©go yhl»tera.

A little further we shall see the almond tree in bloom marble gleaming in the sun the sea breaking into waves A little further, let us rise a little higher. Giorgos Seferis, Mythistorema: 23 (1935)

© Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-88163-0 - Lord Elgin and Ancient Greek Architecture: The Elgin Drawings at the British Museum Luciana Gallo Frontmatter More information

Lord Elgin and Ancient Greek Architecture

The Elgin Drawings at the British Museum

Luciana Gallo

© Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-88163-0 - Lord Elgin and Ancient Greek Architecture: The Elgin Drawings at the British Museum Luciana Gallo Frontmatter More information

cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, Sao˜ Paulo, Delhi

Cambridge University Press 32 Avenue of the Americas, New York, ny 10013-2473, usa www.cambridge.org Information on this title: www.cambridge.org/9780521881630

c Luciana Gallo 2009

This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press.

First published 2009

Printed in the United States of America

A catalog record for this publication is available from the British Library.

Library of Congress Cataloging in Publication Data Gallo, Luciana. Lord Elgin and ancient Greek architecture : the Elgin drawings at the British Museum / Luciana Gallo. p. cm. Includes bibliographical references and index. isbn 978-0-521-88163-0 (hardback) 1. Elgin, Thomas Bruce, Earl of, 1766–1841 –Artpatronage. 2.Architecture– Greece. 3. Architectural drawing – 18th century – Catalogs. 4. Architectural drawing – 19th century – Catalogs. 5. Architectural drawing – England – London – Catalogs. 6. British Museum – Catalogs. I. Title. na2695.g7e444 2009 722.8 –dc22 2008008954

isbn 978-0-521-88163-0 hardback

Cambridge University Press has no responsibility for the persistence or accuracy of urls for external or third-party Internet Web sites referred to in this publication and does not guarantee that any content on such Web sites is, or will remain, accurate or appropriate. Information regarding prices, travel timetables, and other factual information given in this work are correct at the time of first printing, but Cambridge University Press does not guarantee the accuracy of such information thereafter.

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Contents

List of Illustrations page vii Acknowledgements xv List of Abbreviations xvii

Introduction...... 1

1. EarlyExpeditionstoGreece...... 3 From the Middle Ages to the Renaissance 3 The Seventeenth Century 6 The Eighteenth Century 11

2. LordElgin’sEasternExpedition...... 18 Purposes and Artistic Programme 18 Appointment of Artists 22 The Painters: Giovan Battista Lusieri and Feodor Ivanovitch 24 The Architects: Vincenzo Balestra and Sebastiano Ittar 32 Instructions to the Artists 43

3. HistoryoftheElginDrawings...... 51 Arrangement of the Elgin Drawings Collection at the British Museum 51 Chronology of the Expedition and the Attribution of the Architectural Drawings 58 The Expedition to the Morea and the Related Instructions 70

4. CriticalAnalysisoftheElginDrawings...... 83 Consistency of the Collection Held by the British Museum 83 Assessments of the Architectural Drawings by Nineteenth-Century Scholars 88 Further Analysis of the Architectural Drawings Identifying Original Contributions 122 The Drawing Method 140 Analysis of the Sculptural Drawings 157

5. Conclusions...... 169

v

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vi Contents

appendix 1: TranscriptionsofManuscripts...... 171

appendix 2: Catalogues of the Elgin Drawings ...... 244

appendix 3: CriticalandTopographicalIndexoftheElginDrawings...... 288

Notes 297 Bibliography 327 Index 339

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List of Illustrations

1. Ciriaco d’Ancona, West fac¸ade of the Parthenon, Athens page 4 2. Giuliano da Sangallo, Copy of a model of the Parthenon, Athens, based on Ciriaco d’Ancona’s drawing 4 3. Hartmann Schedel, View of Athens as a late Gothic town 5 4. Francesco Fanelli, View of the Acropolis of Athens under Morosini’s bombing in 1687 7 5. Jacques Carrey [?], Left half of the west pediment of the Parthenon, Athens 10 6. Jacques Carrey [?], Right half of the west pediment of the Parthenon, Athens 11 7. Jacob Spon, West elevation of the Parthenon, Athens 11 8. Jules-David Le Roy, Jacques-Philippe Le Bas (engr.), View of the south-east corner of the Parthenon, Athens 14 9. Louis-Leopold´ Boilly, Claude Marie Franc¸ois Dien (engr.), Bust of the Comte de Choiseul Gouffier 15 10. Luigi Mayer, Bryne (engr.), View of the theatre at Patara 25 11. Luigi Mayer, Bryne (engr.), View of the theatre at Patara 25 12. Luigi Mayer, Bryne (engr.), View of the theatre at Castel Rosso 26 13. LuigiMayer,Bryne(engr.),ViewofthetheatreatMacris 26 14. Luigi Mayer, Antonio Zacco (engr.), View of the ancient colossal bust in the collection of the Prince of Biscari 27 15. Giovan Battista Lusieri, View of the Temple of Neptune, Paestum 27 16. Giovan Battista Lusieri, View of Naples from Capodimonte, Capri in the distance 28 17. Giovan Battista Lusieri, View of the ruins of the Thermae of Caracalla 28 18. Giovan Battista Lusieri, View of the Monument of Philopappos, Athens 29 19. Giovan Battista Lusieri, Study of an owl 31 20. Giovan Battista Lusieri, View of the south-east corner of the Parthenon, Athens 31 21. Giovan Battista Lusieri, A Greek double urn 32 22. Feodor Ivanovitch, Self-portrait 33 23. Luigi Mayer, Antonio Zacco (engr.), Bust of Ignazio Paterno` Castello, Prince of Biscari 34

vii

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viii List of Illustrations

24. Vincenzo Balestra, Atti dell’Accademia della Pace. Soggetto Primo, tav. I: Pritaneo o edifizio per pubblici consigli 36 25. Vincenzo Balestra, Atti dell’ Accademia della Pace. Soggetto Primo, tav. II: Icnografia del Pritaneo 36 26. Vincenzo Balestra, Atti dell’Accademia della Pace. Soggetto Primo, tav. III: Ortografia interna della sala del Pritaneo 37 27. Sebastiano Ittar (attr.), Drawing of the altar built on 20 March 1798 by Giuseppe Camporese, Andrea Vici and Paolo Bargigli in St Peter’s Square, Rome, to celebrate the Federation Act Festival 38 28. Sebastiano Ittar, Etching of the drawing showing the altar built on 20 March 1798 by Giuseppe Camporese, Andrea Vici, and Paolo Bargigli in St Peter’s Square, Rome, to celebrate the Federation Act Festival 38 29. Sebastiano Ittar, View of the triumphal arch built on 20 March 1798 by Giuseppe Barberi in front of the bridge of S. Angelo, Rome, for the parade of French troops 39 30. Sebastiano Ittar, View of the monument built on 15 February 1799 by Paolo Bargigli in the Roman Forum to celebrate the anniversary of the establishment of the Roman Republic 39 31. Sebastiano Ittar, View of the Pantheon, Rome 40 32. Vincenzo Balestra, Pietro Ruga, and Vincenzo Feoli (etchers), View of the front elevation of the Basilica of S. Giovanni in Laterano, Rome 41 33. Sebastiano Ittar, View of the Lion Gate, Mycenae, showing a draughtsman, probably the architect himself, in the foreground 42 34. [Sebastiano Ittar and Feodor Ivanovitch], Restored elevation of the Horologion of Andronicus Cyrrhestes (Tower of the Winds), Athens 45 35. [Sebastiano Ittar and Feodor Ivanovitch], Restored front elevations of the Choragic Monument of Thrasyllus, Athens, surmounted by the statue of Dionysos 46 36. [Sebastiano Ittar and Feodor Ivanovitch], Restored east elevation of the Parthenon, Athens, with conjectural reconstruction of complete set of fourteen metopes in the frieze and of statues in the pediment 47 37. James Stuart, Restoration of the west elevation of the Parthenon, Athens, with metopes transposed from south elevation 48 38. James Stuart, Restored column and entablature detail of the Parthenon, showing south metope XXVII (transposed) 48 39. William Pars, Detail of metope XXVII of the south elevation of the Parthenon, Athens 49 40. [Sebastiano Ittar], Sketch showing view of east walls of the Acropolis of Tiryns 52 41. [Sebastiano Ittar], View of a landscape in Greece with three figures resting 53 42. Sebastiano Ittar, View of the Grotto of Pan, Athens 53 43. Sebastiano Ittar, View of the Temple of Poseidon, Sounion 54 44. Sebastiano Ittar, View of a festival with tightrope walker by the Hephaisteion, Athens 54 45. Feodor Ivanovitch, R. Cooper (engr.), The Casiot Master of the Ca¨ıque 55 46. [Feodor Ivanovitch], An Albanian soldier 55 47. [Sebastiano Ittar], View of landscape in Crete 56 48. [Sebastiano Ittar], View of landscape in Crete 56 49. [Sebastiano Ittar], View of landscape in Crete 57

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List of Illustrations ix

50. [Sebastiano Ittar], View of the Temple of Poseidon, Sounion 57 51. [Sebastiano Ittar(?)], Plan of the Temple of Concord, Agrigentum 58 52. [Sebastiano Ittar(?)], East elevation of the Temple of Concord, Agrigentum 58 53. Sebastiano Ittar, Plan and elevation of the ‘Oratory of Phalaris’, Agrigentum 59 54. [Vincenzo Balestra], Longitudinal section of the scheme for the British Embassy Palace at Pera 62 55. [Vincenzo Balestra], Cross-section of the scheme for the British Embassy Palace at Pera 63 56. [Vincenzo Balestra], Front elevation of the scheme for the British Embassy Palace at Pera 63 57. [Vincenzo Balestra], Rear elevation of the scheme for the British Embassy Palace at Pera 64 58. Perspective view of the British Embassy Palace at Pera 64 59. [Sebastiano Ittar], South elevation of the remains of the Temple of Poseidon, Sounion 66 60. [Sebastiano Ittar], Section through the porch of the Temple of Poseidon, Sounion 66 61. [Sebastiano Ittar], Plan and elevation of two surviving columns and details of the order of the Propylaia, Sounion 67 62. Sebastiano Ittar, Details of the order of the Temple of Poseidon, Sounion 68 63. [Sebastiano Ittar], Restored plan of the Temple of Poseidon, Sounion 68 64. [Sebastiano Ittar/Vincenzo Balestra], Map of Athens 69 65. [Sebastiano Ittar], Plan of remains of the Roman thermae, Corinth 74 66. [Sebastiano Ittar], Details of a pedestal in Corinth and of remains of the order of the Temple of Poseidon, Isthmia 75 67. Sebastiano Ittar, Plan and longitudinal section of the amphitheatre, Corinth 75 68. Sebastiano Ittar, Details of remains of the Temple of Apollo, Aegina 76 69. Sebastiano Ittar, Restored longitudinal section of the Temple of Aphaia, Aegina 76 70. Sebastiano Ittar, Restored front elevation of the Temple of Aphaia, Aegina 77 71. [Sebastiano Ittar], Details of the order of the Temple of Aphaia, Aegina 77 72. [Sebastiano Ittar], Restored plan of the Temple of Aphaia, Aegina 78 73. [Sebastiano Ittar], View of exterior walls and plan of the theatre, Sparta 78 74. [Sebastiano Ittar], Plan of remains of the Roman thermae, Sparta 79 75. [Sebastiano Ittar], Plan of the remains of the Temple of Zeus, Nemea 80 76. [Sebastiano Ittar], South elevation of the remains of the Temple of Zeus, Nemea 80 77. [Sebastiano Ittar], Details of the order and crepidoma of the Temple of Zeus, Nemea 81 78. Sebastiano Ittar, Details of peristyle entablature of the Hephaisteion, Athens 85 79. Sebastiano Ittar, Frieze of the Choragic Monument of Lysicrates 87 80. [Sebastiano Ittar], Plan and perspective of the odeion in Sparta 88 81. [Sebastiano Ittar], Restored plan of the Propylaia, Athens 89 82. [Nicholas Revett], Plan of the Propylaia, Athens 90 83.Jean-Franc¸ois de Neufforge after Julien-David Le Roy, Plan of the Propylaia, Athens 91 84. Julien-David Le Roy, Pierre Patte (engr.), Perspective of the Propylaia, Athens 91 85. [Sebastiano Ittar], Restored longitudinal section of the Propylaia, Athens 92 86. [Sebastiano Ittar], Restored front (west) elevation of the Propylaia, Athens 93

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x List of Illustrations

87. Julien-David Le Roy, Pierre Patte (engr.), Longitudinal section of the Propylaia, Athens 93 88. [Nicholas Revett], Longitudinal section of the Propylaia, Athens 94 89. [Sebastiano Ittar/Vincenzo Balestra], Restored plan of the Parthenon, Athens 95 90. [Sebastiano Ittar], Restored west elevation of the Parthenon, Athens 95 91. [Sebastiano Ittar and Feodor Ivanovitch], Restored cross-section through opisthodomos of the Parthenon, Athens 96 92. [Sebastiano Ittar], Details of the order of the Parthenon, Athens 97 93. [Sebastiano Ittar and Feodor Ivanovitch], Details of entablature of the Parthenon, Athens, showing metope XXXII in the north frieze 98 94. Sebastiano Ittar, Roof plan of the Parthenon, Athens, showing arrangement of corner sima 99 95. Sebastiano Ittar, Details of peristyle cornice and false tile of the Parthenon, Athens 100 96. Sebastiano Ittar, Details of corner arrangement of pedimental sima of the Parthenon, Athens 100 97. Sebastiano Ittar, Double meander and anthemion ornaments painted along thranos of epistyle frieze of the Parthenon, Athens 101 98. Sebastiano Ittar, Detail of anta capital of the Temple of Poseidon, Sounion 102 99. [Sebastiano Ittar], Restored elevation of north porch doorway of the Erechtheion, Athens 103 100. Jakob Ignaz Hittorff, Doorway of the north porch of the Erechtheion, Athens, based on Ittar’s and Inwood’s restorations 104 101. Thomas Leverton Donaldson, Elevation of doorway of the north porch of the Erechtheion, Athens 105 102. Thomas Leverton Donaldson, Details of doorway of the north porch of the Erechtheion, Athens 106 103. Thomas Leverton Donaldson, Details of doorway of the north porch of the Erechtheion, Athens 107 104. [Sebastiano Ittar], Restored plan of the Erechtheion, Athens 108 105. [Nicholas Revett], Restored plan of the Erechtheion, Athens 109 106. [Sebastiano Ittar], Details of the architectural order of the north porch of the Erechtheion, Athens 109 107. [Sebastiano Ittar], Restored east elevation of the Erechtheion, Athens 110 108. [Nicholas Revett], J. Newton (engr.), Restored east elevation of the Erectheion, Athens 110 109. [Sebastiano Ittar], Section through entablature and a lacuna of the Erechtheion, Athens 111 110. [Sebastiano Ittar], Restored west elevation of the Erechtheion, Athens 112 111. [Sebastiano Ittar and Feodor Ivanovitch], Restored front elevation of the Choragic Monument of Thrasyllus, Athens, surmounted by the statue of Dionysos and showing the choragic columns at the back 113 112. [Nicholas Revett], Restored front elevation of the Choragic Monument of Thrasyllus, Athens 114 113. [Sebastiano Ittar], Detail of entablature with carved inscription of the Choragic Monument of Thrasyllus, Athens 114 114. [James Stuart], Restored statue surmounting the Choragic Monument of Thrasyllus, Athens 115

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List of Illustrations xi

115. [Sebastiano Ittar], Plan of the Theatre of Dionysos, Athens 115 116. [Sebastiano Ittar/Vincenzo Balestra], Oriented map of the Pnyx, Athens 116 117. William Kinnard after Sebastiano Ittar/Vincenzo Balestra, T. Bradley (engr.), Plan of the Pnyx, Athens 116 118. William Kinnard after Sebastiano Ittar, Details of entablature and capitals of the Temple of Apollo, Corinth 117 119. Sebastiano Ittar, Details of peristyle entablature and capital of the Temple of Apollo, Corinth 117 120. Sebastiano Ittar, Plan and sections of the theatre of Epidauros 118 121. S. Porter after Thomas Leverton Donaldson, Plan of the theatre of Epidauros 118 122. [Sebastiano Ittar], Restored doorway of the ‘Treasury of Atreus’, Mycenae 119 123. Sebastiano Ittar, Details of stone decoration of front elevation of the ‘Treasury of Atreus’, Mycenae 120 124. [Sebastiano Ittar], Plan of the ‘Treasury of Atreus’, Mycenae 121 125. Sebastiano Ittar, Elevation and section of the outer doorway of the ‘Treasury of Atreus’, Mycenae 121 126. Sebastiano Ittar, Longitudinal section and details of the ‘Treasury of Atreus’, Mycenae 122 127. Sebastiano Ittar, Front elevation of the ‘Treasury of Atreus’, Mycenae 123 128. [Sebastiano Ittar], Longitudinal section through tholos and dromos of the ‘Treasury of Atreus’, Mycenae 124 129. Sebastiano Ittar, Elevation and section of the postern gate, Mycenae 124 130. Thomas Leverton Donaldson, James Carter (engr.), Restored front doorway of the ‘Treasury of Atreus’, Mycenae 125 131. Sebastiano Ittar, Cross-section of side chamber of the ‘Treasury of Atreus’, Mycenae 126 132. Sebastiano Ittar, Detail of masonry of inner wall of the ‘Treasury of Atreus’, Mycenae, showing holes for insertion of decorative nails 126 133. Sebastiano Ittar, Longitudinal section through dromos of the ‘Treasury of Atreus’, Mycenae 127 134. Sebastiano Ittar, Details of stone decoration of front elevation of the ‘Treasury of Atreus’, Mycenae 127 135. Sebastiano Ittar, Details of inner column of the Horologion of Andronicus Cyrrhestes (Tower of the Winds), Athens 128 136. Sebastiano Ittar, Details of inner cornice and corbel of the Horologion of Andronicus Cyrrhestes (Tower of the Winds), Athens 128 137. Sebastiano Ittar, Details of outer cornice of the Horologion of Andronicus Cyrrhestes (Tower of the Winds), Athens 129 138. Sebastiano Ittar, Plan of the Horologion of Andronicus Cyrrhestes (Tower of the Winds), Athens 129 139. [Sebastiano Ittar and Feodor Ivanovitch], Restored elevation of the Choragic Monument of Lysicrates (Lantern of Demosthenes), Athens 130 140. Sebastiano Ittar, Entablature of the Choragic Monument of Lysicrates (Lantern of Demosthenes), Athens 131 141. Sebastiano Ittar, Elevation of half pedestal and Attic base of the Choragic Monument of Lysicrates (Lantern of Demosthenes), Athens 131 142. Sebastiano Ittar, Half section through entablature of the Choragic Monument of Lysicrates (Lantern of Demosthenes), Athens 132

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xii List of Illustrations

143. Sebastiano Ittar, Section and details of roof of the Choragic Monument of Lysicrates (Lantern of Demosthenes), Athens 132 144. Sebastiano Ittar, Half plan of the Choragic Monument of Lysicrates (Lantern of Demosthenes), Athens 133 145. Sebastiano Ittar, Half roof plan of the Choragic Monument of Lysicrates (Lantern of Demosthenes), Athens 133 146. Sebastiano Ittar, Entablature details of the Choragic Monument of Lysicrates (Lantern of Demosthenes), Athens 134 147. Sebastiano Ittar, Details of bronze finial surmounting the Choragic Monument of Lysicrates (Lantern of Demosthenes), Athens 134 148. [Sebastiano Ittar], Map of the port and isle of Aegina 135 149. [Sebastiano Ittar], Map of the Isthmus of Corinth 135 150. [Sebastiano Ittar], Remains of Sicyon 136 151. [Sebastiano Ittar], Map of the site of the Isthmian games 136 152. [Sebastiano Ittar], Map of the Acropolis of Mycenae 137 153. [Sebastiano Ittar], Map of the remains of the theatre, odeion and Roman baths of Argos 137 154. Sebastiano Ittar, Map of the Acropolis of Tiryns and view of east walls 138 155. [Sebastiano Ittar], Map of the town of Mantinea and details of the theatre 138 156. [Sebastiano Ittar], Map of the town of Sparta 139 157. [Sebastiano Ittar], Map of the town of Eleusis 139 158. [Sebastiano Ittar], Map of the Promontory of Sounion 140 159. Sebastiano Ittar, Plan and side elevation of the surviving peristyle columns of the Temple of Apollo, Corinth 141 160. Willey Reveley, W. Lowry (engr.), Details of column and capital of the Temple of Apollo, Corinth 142 161. Willey Reveley, W. Lowry (engr.), Plan and elevation of the Temple of Apollo, Corinth 142 162. Julien-David Le Roy, Jacques-Philippe Le Bas (engr.), View of the Temple of Apollo, Corinth 143 163. Sebastiano Ittar, Plan of the Telesterion, Eleusis 144 164. Sebastiano Ittar, Plan of the Telesterion, Eleusis 144 165. [Nicholas Revett], J. Newton (engr.), Plan of the Telesterion, Eleusis 145 166. Joseph Peter Gandy, S. Porter (engr.), Plan of the Telesterion, Eleusis 145 167. Sebastiano Ittar, Anta capital of the Lesser Propylaia, Eleusis 146 168. Francis Bedford, C. Armstrong (engr.), Anta capital of the Lesser Propylaia, Eleusis 146 169. [Sebastiano Ittar], Plan and side elevation of the remains of the Greater Propylaia, Eleusis 147 170. Sebastiano Ittar, Details of the Greater Propylaia, Eleusis 147 171. Sebastiano Ittar, Details of the Telesterion, Eleusis 148 172. [Nicholas Revett], J. Newton (engr.), Restored north elevation of the Erechtheion, Athens 149 173. [Sebastiano Ittar], Restored north elevation of the Erechtheion, Athens 149 174. [Sebastiano Ittar], Detail of entablature showing anathyrosis of the Temple of Poseidon, Sounion 150 175. [Sebastiano Ittar], Detail of entablature showing anathyrosis of the Temple of Zeus, Nemea 151 176. Sebastiano Ittar, Study of a rinceau ornament as derived from a plant form 151

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List of Illustrations xiii

177. [Sebastiano Ittar and Feodor Ivanovitch], Restored south elevation of the Parthenon, Athens, showing the complete set of partly restored and partly reconstructed thirty-two metopes in the frieze 152–153 178. Feodor Ivanovitch, Detail of east frieze of the Hephaisteion, Athens 154 179. Feodor Ivanovitch, Detail of east frieze of the Hephaisteion, Athens 155 180. Feodor Ivanovitch, Detail of south frieze of the Temple of Athena Nike, Athens 155 181. Feodor Ivanovitch, Detail of north frieze of the Temple of Athena Nike, Athens 156 182. Jacques Carrey (?), Metopes I-VIII from the south elevation of the Parthenon, Athens 156 183. Jacques Carrey (?), Metopes IX-XVI from the south elevation of the Parthenon, Athens 157 184. Jacques Carrey (?), Metopes XVII-XXIV from the south elevation of the Parthenon, Athens 158 185. Jacques Carrey (?), Metopes XXV-XXXII from the south elevation of the Parthenon, Athens 159 186. Bernard de Montfaucon, Details of destroyed south metopes XIX (misinterpreted as the representation of male and female figures) and XXI of the Parthenon, Athens 160 187. Feodor Ivanovitch, Detail of west frieze of the Hephaisteion, Athens 160 188. Feodor Ivanovitch, Detail of west frieze of the Hephaisteion, Athens 161 189. Feodor Ivanovitch, Metope XXIX of the south elevation of the Parthenon, Athens 161 190. Feodor Ivanovitch, Metope III of the south elevation of the Parthenon, Athens 162 191. Feodor Ivanovitch, Metope I of the south elevation of the Parthenon, Athens 162 192. Charles R. Cockerell, H. Moses (engr.), Reconstruction of east pediment of the Parthenon, Athens 163 193. Feodor Ivanovitch, Central section of the east cella frieze of the Parthenon, Athens 163 194. Feodor Ivanovitch, Central section of the east cella frieze of the Parthenon, Athens 164 195. Feodor Ivanovitch, Detail of the frieze of the Monument of Lysicrates, Athens 164 196. Feodor Ivanovitch, Detail of the frieze of the Monument of Lysicrates, Athens 164 197. Feodor Ivanovitch, Detail of the frieze of the Monument of Lysicrates, Athens 165 198. Feodor Ivanovitch, Detail of the frieze of the Monument of Lysicrates, Athens 165 199. Feodor Ivanovitch, Metope XXXII of the south elevation of the Parthenon, Athens 166 200. Feodor Ivanovitch, Detail of the west cella frieze of the Parthenon, Athens 166 201. Feodor Ivanovitch, Detail of the reliefs on the ancient sarcophagus kept in the cathedral of Agrigentum 167

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Acknowledgements

This book is the result of several years of research, and its achievement has been due to the generous assistance of many scholars and friends, towards whom I have a large number of debts. But my deepest gratitude is addressed to my parents. Without their constant support the conclusion of this work would have never been possible. My father, however, will never have the pleasure of reading my book. It has been issued too late. This regret will always accompany me. The nucleus of the present publication stems from materials collected for the writing of my Ph.D. thesis. I am, therefore, particularly grateful to John Newman, former Reader in the History of British Architecture and Deputy Director at the Courtauld Institute of Art, and Peter Draper, Visiting Professor in Architectural History at Birkbeck College, who greatly assisted me during my postgraduate research work. Among the friends I would like to thank, I owe a special debt of gratitude to Professor John Wilton-Ely, who has generously offered his time and invaluable suggestions, while casting an attentive and critical eye over the typescript. His learned and constant help has been a precious guide at crucial moments and has made possible the publication of the book. A significant contribution to the advancement and originality of the research was given by the manuscript material I consulted at Broomhall. Thus, my deeply felt thanks are addressed to the present Lord Elgin for his permission to carry out research in his vast private archive, and to quote and reproduce unpublished documents. I would like to stress the great help and the patience shown by the staff of the British Museum, Department of Greek and Roman Antiquities, and especially by the senior curator of ancient Greece, Dr Ian Jenkins, and the curator of Greek and Roman sculpture, Dr Thosten Oppen, in allowing me to make numerous and lengthy examinations of the Elgin Drawings. I extend special thanks to the staff of the British Library, the National Art Library at the Victoria and Albert Museum, and The British Architectural Library at the Royal Institute of British Architects. Warm thanks are addressed in particular to the former assistant curator of the RIBA Drawings Collection, Dr Neil Bingham, for his invaluable advice and help. I am grateful to William St Clair for the interesting conversation on Lord Elgin’s expedition we enjoyed at All Souls College, Oxford. Tomasz Grygiel of the Institut Sztuki, Polskiej Akademii Nauk, Warsaw, has been of great help with his accurate bibliographical information on Stefano and Enrico Ittar. Among the several institutions I contacted in Italy, I am grateful to the Gabinetto Nazionale delle Stampe, Villa Farnesina; the Gabinetto Comunale delle Stampe, Palazzo Braschi; the Museo Napoleonico; the Archive of the Accademia di San Luca; the Biblioteca dell’Istituto Nazionale di Archeologia e Storia dell’Arte; the Biblioteca del Dipartimento di Storia dell’Architettura, Restauro e Conservazione, Facolta` di Architettura, Universita` ‘La Sapienza’, and the Archivio Storico Vescovile, in Rome; the Civica Raccolta delle Stampe “Achille Bertarelli” in Milan; and the Museo Civico di Castello Ursino in Catania. I would also like to thank the Witt Library, Courtauld Institute of Art, and Sotheby’s Picture Library, in London; the National Galleries of Scotland; the Academie´ des Beaux-Arts de l’Institut de France, and the Bibliotheque` de l’Institut National d’Histoire de l’Art, Collections Jacques Doucet, in

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xvi Acknowledgements

Paris; the Historisches Archiv Stadt Koln;¨ and the Cooper Hewitt Museum of Design, New York. I am very grateful to the Advisory Council of the Paul Mellon Centre for Studies in British Art for awarding a generous grant for supporting this publication, and I am especially thankful to its former Assistant Director for Academic Activities, Dr Frank Salmon, for his constant assistance and precious advice. I wish to thank James Hughes, the copy editor, for his patience and dedication in making this book as fluent as possible, English not being my first language. Finally, very special thanks go to Sebastien´ Brasseur for his commitment and care in editing the Appendix of French manuscripts. A most propitious circumstance has also been finding at Cambridge University Press an extremely sensitive and proactive editor, Beatrice Rehl, who has believed in my book and trusted it from the very start.

© Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-88163-0 - Lord Elgin and Ancient Greek Architecture: The Elgin Drawings at the British Museum Luciana Gallo Frontmatter More information

List of Abbreviations

ASCC Archivio Storico della Curia di Catania ASVR Archivio Storico del Vicariato di Roma BAS Biblioteca Comunale Antonio Sarti, Rome BCP Biblioteca Comunale di Palermo BCRS Biblioteca Centrale della Regione Siciliana, Palermo BJD Bibliotheque` de l’Institut National d’Histoire de l’Art, Paris, Collections Jacques Doucet, Paris BM British Museum, London, Department of Greek and Roman Antiquities BVR Biblioteca Vaticana, Rome DSB Deutsche Staatsbibliothek, Berlin ED I ‘Elgin Drawings’, vol. I ED II ‘Elgin Drawings’, vol. II ED III ‘Elgin Drawings’, vol. III ED V ‘Elgin Drawings’, vol. V

The numbering of the Elgin Drawings referred to in the text follows the arrangement of the five original portfolios. The numbering of volumes One, Two, and Four refers to each page of the volume on which one or two individual drawing folios are glued. The numbering of volumes Three and Five refers to each drawing folio which is directly bound to the spine through a supporting paper. The sketch folios of volume Five are usually divided in two sides drawn recto and verso.

EP I ‘Elgin Papers’ at Broomhall, vol. I, ‘Lord Elgin to Lusieri 1799–1819’ EP II ‘Elgin Papers’ at Broomhall, vol. II, ‘Lord Elgin to Hamilton 1812–1836’ EP III ‘Elgin Papers’ at Broomhall, vol. III, ‘Hamilton to Lord Elgin 1799–1833’ EP Hunt ‘Elgin Papers’ at Broomhall, vol. n.n., ‘Philip Hunt and the artists’ EP Lusieri ‘Elgin Papers’ at Broomhall, vol. n.n., ‘Letters of G. B. Lusieri 1799–1821’ MCS Civica Raccolta delle Stampe “Achille Bertarelli”,Milan MCU Museo Civico di Castello Ursino, Catania MN Comune di Roma – Sovraintendenza Beni Culturali – Museo Napoleonico, Rome NGS National Galleries of Scotland SPL Sotheby’s Picture Library, London V&A Victoria and Albert Museum, London, Department of Prints and Drawings WL Witt Library, Courtauld Institute of Art, London

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