Lord Elgin and Ancient Greek Architecture: the Elgin Drawings at the British Museum Luciana Gallo Frontmatter More Information

Total Page:16

File Type:pdf, Size:1020Kb

Lord Elgin and Ancient Greek Architecture: the Elgin Drawings at the British Museum Luciana Gallo Frontmatter More Information 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. © 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 L©go ak»ma qa idoÅme tiv amugdaliv n’anq©zoun ta mrmara na lmpoun ston lio th qlassa 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. © 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 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 © 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 vi Contents appendix 1: TranscriptionsofManuscripts........................171 appendix 2: Catalogues of the Elgin Drawings . 244 appendix 3: CriticalandTopographicalIndexoftheElginDrawings..........288 Notes 297 Bibliography 327 Index 339 © 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 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 © 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 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
Recommended publications
  • OTTOMAN GREECE and TURKEY Travels with William Page and Lady Ruthven OTTOMAN GREECE and TURKEY Travels with William Page and Lady Ruthven
    karen taylor fine art OTTOMAN GREECE AND TURKEY Travels with William Page and Lady Ruthven OTTOMAN GREECE AND TURKEY Travels with William Page and Lady Ruthven Front cover: William Page, Temple of Olympian Zeus, Athens. Catalogue no. 6 Back cover: William Page, Temple of Cybele, Sardis. The drawings are available for viewing by appointment Catalogue no. 12 Inside front cover: William Page, The harbour baths, Ephesus. Catalogue no. 14 Inside back cover: William Page, Thrasyllos monument from the west. Catalogue no. 7 © KAREN TAYLOR FINE ART 2017 karen taylor fine art +44 (0)20 8743 9207 +44 (0)7881 581275 [email protected] www.karentaylorfineart.com KAREN TAYLOR FINE ART I am delighted to present this recently rediscovered group of drawings by William Page, with whose work I first became familiar in the 1980s when I built up the Sotheby’s Greek and Turkish topographical sales. Little is known about Page’s life, but the freshness of his approach impressed me, as did his evident pleasure in drawing ruins. His relationship with his patron and probable pupil, Mary Hamilton Campbell, Lady Ruthven, an amateur archaeologist who appears to have taken him to Greece, was previously unknown, as was Page’s involvement with her brother William Campbell, with whom he travelled to Turkey. There is more work to be done on Page, but in the meantime I hope this catalogue will add a little to our understanding of the Enlightenment fascination with classical Greece. My own longstanding interest in the Ottoman period remains undimmed, and it has been a pleasure to revisit it.
    [Show full text]
  • Lord Elgin and the Ottomans: the Question of Permission
    Yeshiva University, Cardozo School of Law LARC @ Cardozo Law Articles Faculty 2002 Lord Elgin and the Ottomans: The Question of Permission David Rudenstine Benjamin N. Cardozo School of Law, [email protected] Follow this and additional works at: https://larc.cardozo.yu.edu/faculty-articles Part of the Law Commons Recommended Citation David Rudenstine, Lord Elgin and the Ottomans: The Question of Permission, 23 Cardozo Law Review 449 (2002). Available at: https://larc.cardozo.yu.edu/faculty-articles/167 This Article is brought to you for free and open access by the Faculty at LARC @ Cardozo Law. It has been accepted for inclusion in Articles by an authorized administrator of LARC @ Cardozo Law. For more information, please contact [email protected], [email protected]. LORD ELGIN AND THE OTTOMANS: THE QUESTION OF PERMISSION David Rudenstine* In the early morning light on July 31, 1801, a ship-carpenter, five crew members, and twenty Athenian laborers "mounted the walls" of the Parthenon and with the aid of ropes and pulleys detached and lowered a sculptured marble block depicting a youth and centaur in combatJ The next day the group lowered a second sculptured marble from the magnificent templet Within months, the workers had lowered dozens of additional marble sculptures, and within a few years, most of the rest of the Parthenon's priceless marbles were removed.^ These fabulous marbles, sculptured during the age of Pericles'' under the guiding hand of Phidias' out of fine white Pentelic marble quarried ten miles from Athens and hauled by ox-cart to the Acropolis,® had remained on the Parthenon for 2,200 years before being removed.
    [Show full text]
  • Parthenon 1 Parthenon
    Parthenon 1 Parthenon Parthenon Παρθενών (Greek) The Parthenon Location within Greece Athens central General information Type Greek Temple Architectural style Classical Location Athens, Greece Coordinates 37°58′12.9″N 23°43′20.89″E Current tenants Museum [1] [2] Construction started 447 BC [1] [2] Completed 432 BC Height 13.72 m (45.0 ft) Technical details Size 69.5 by 30.9 m (228 by 101 ft) Other dimensions Cella: 29.8 by 19.2 m (98 by 63 ft) Design and construction Owner Greek government Architect Iktinos, Kallikrates Other designers Phidias (sculptor) The Parthenon (Ancient Greek: Παρθενών) is a temple on the Athenian Acropolis, Greece, dedicated to the Greek goddess Athena, whom the people of Athens considered their patron. Its construction began in 447 BC and was completed in 438 BC, although decorations of the Parthenon continued until 432 BC. It is the most important surviving building of Classical Greece, generally considered to be the culmination of the development of the Doric order. Its decorative sculptures are considered some of the high points of Greek art. The Parthenon is regarded as an Parthenon 2 enduring symbol of Ancient Greece and of Athenian democracy and one of the world's greatest cultural monuments. The Greek Ministry of Culture is currently carrying out a program of selective restoration and reconstruction to ensure the stability of the partially ruined structure.[3] The Parthenon itself replaced an older temple of Athena, which historians call the Pre-Parthenon or Older Parthenon, that was destroyed in the Persian invasion of 480 BC. Like most Greek temples, the Parthenon was used as a treasury.
    [Show full text]
  • British Neoclassicism COMMONWEALTH of AUSTRALIA Copyright Regulations 1969
    702132/702835 European Architecture B British Neoclassicism COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 Warning This material has been reproduced and communicated to you by or on behalf of the University of Melbourne pursuant to Part VB of the Copyright Act 1968 (the Act). The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. do not remove this notice authenticity reductionism NEOCLASSICISM sublimity neoclassicism ROMANTIC CLASSICISM innovation/radicalism ARCHAEOLOGYARCHAEOLOGY ARCHAEOLOGICAL PUBLICATIONS Robert Wood, Ruins of Palmyra,1753 Robert Wood, Ruins of Balbec,1757 J D Leroy, Les Ruines des plus Beaux Monuments de la Grèce, 1758 James Stuart & Nicholas Revett, Antiquities of Athens, I, 1762 James Stuart & Nicholas Revett, Antiquities of Athens, II, 1790 Robert Adam, Ruins of the Palace of the Emperor Diocletian at Spalatro in Dalmatia, 1764 Richard Chandler, Ionian Antiquities, I, 1769 Richard Chandler, Ionian Antiquities, II, 1797 Temple of Apollo, Stourhead, by Henry Flitcroft, 1765 the ‘Temple of Venus’ at Baalbek, c AD 273 George Mott & S S Aall, Follies and Pleasure Pavilions (London 1989), p 102; Robert Wood, The Ruins of Balbec, otherwise Heliopolis in Coelosyria (London 1757) THETHE SUBLIMESUBLIME 'The artist moved by the grandeur of giant statue of Ancient Ruins', by Henry Fuseli, 1778-9 Constantine, c 313 Toman, Neoclassicism, p 11 MUAS 12,600 Castel Sant' Angelo, Rome,
    [Show full text]
  • NOTES and DOCUMENTS William Tenns Other Statue
    NOTES AND DOCUMENTS William Tenns Other Statue N OCTOBER 2, 1967, Sir Francis Dashwood, Bt. of West Wycombe Park, Buckinghamshire, England, wrote the o following letter to "The Curator/' Philadelphia Museum: There is a statue of William Penn on top of your City Hall. I believe it originally came from the roof of Sawmill House, a building erected in about 1770 in the Park here. The building was probably the work of Nicholas Revett, who was employed by Sir Francis Dashwood, Lord le Despencer. The statue was removed by Repton1 in about 1801, when it went to Stoke Park near Slough. From there, I believe it went to Phila- delphia in 1806. I wonder if you could confirm that this information is correct? In due course this letter was referred to the writer and Sir Francis was informed that Penn's statue on City Hall is the work of Alex- ander Milne Calder, that it measures thirty-seven feet in height and weighs 53,348 pounds, and was raised in sections to its present position in November, 1894, and thus could have nothing to do with Sawmill House at West Wycombe Park. After casting about to locate another statue of William Penn, the one on the grounds of the Pennsylvania Hospital came to mind and this proved to be the statue from Sawmill House. While much infor- mation concerning this statue has been published, certain corrections and additions to its history are in order. John Fanning Watson in his ^Annals of Philadelphia recorded that "The statue of Penn in the Pennsylvania Hospital must be regarded as a very accurate representation.
    [Show full text]
  • For the Georgian Group Journal, Volume 23, 2015 Cavendish
    For The Georgian Group Journal, volume 23, 2015 Cavendish Square and Spencer House: Neo-classicism, opportunity and nostalgia by Peter Guillery Survey of London, The Bartlett School of Architecture University College London c/o English Heritage, 1 Waterhouse Square, 138–142 Holborn London EC1N 2ST telephone: 020 7973 3634 or 07990 717503 email: [email protected] Abstract The Society of Dilettanti planned a temple-fronted academy of arts on the north side of Cavendish Square in the early 1750s. It can now be shown that stone bought and cut for this building was used in the Green Park elevation of Spencer House (1756–9), shedding new light on design there. The Cavendish Square site stayed empty until speculative pairs of houses were built in 1768–70. Their temple-fronted stone façades, hitherto explained as incorporating stone from the 1750s, must now be understood not as the result of salvage, but as a conscious echo of the abandoned academy project. 1 Sixty years ago (Sir) John Summerson explained the grandeur of the speculatively built houses of 1768–70 on Cavendish Square’s north side as reflecting the Society of Dilettanti’s plans of the early 1750s for an academy of arts on the site. He suggested that stone intended for the academy was used in the façades, and mentioned this in subsequent editions of Georgian London. He also noticed similarities between the houses and Spencer House (1756–9).1 Research carried out for the Survey of London makes it possible now to recount more fully what happened, and how Spencer House and Cavendish Square are linked.
    [Show full text]
  • Observations on the Intended Reconstruction of the Parthenon on Calton Hill
    Marc Fehlmann A Building from which Derived "All that is Good": Observations on the Intended Reconstruction of the Parthenon on Calton Hill Nineteenth-Century Art Worldwide 4, no. 3 (Autumn 2005) Citation: Marc Fehlmann, “A Building from which Derived ‘All that is Good’: Observations on the Intended Reconstruction of the Parthenon on Calton Hill,” Nineteenth-Century Art Worldwide 4, no. 3 (Autumn 2005), http://www.19thc-artworldwide.org/autumn05/207-a- building-from-which-derived-qall-that-is-goodq-observations-on-the-intended-reconstruction- of-the-parthenon-on-calton-hill. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2005 Nineteenth-Century Art Worldwide Fehlmann: A Building from which Derived "All that is Good" Nineteenth-Century Art Worldwide 4, no. 3 (Autumn 2005) A Building from which Derived "All that is Good": Observations on the Intended Reconstruction of the Parthenon on Calton Hill by Marc Fehlmann When, in 1971, the late Sir Nikolaus Pevsner mentioned the uncompleted National Monument at Edinburgh in his seminal work A History of Building Types, he noticed that it had "acquired a power to move which in its complete state it could not have had."[1] In spite of this "moving" quality, this building has as yet not garnered much attention within a wider scholarly debate. Designed by Charles Robert Cockerell in the 1820's on the summit of Calton Hill to house the mortal remains of those who had fallen in the Napoleonic Wars, it ended as an odd ruin with only part of the stylobate, twelve columns and their architrave at the West end completed in its Craigleith stone (fig.
    [Show full text]
  • The Stones and the Bones: Contemporary Issues in Cultural Property
    University of Mississippi eGrove Honors College (Sally McDonnell Barksdale Honors Theses Honors College) 2007 The Stones and the Bones: Contemporary Issues in Cultural Property Christopher Michael Blocker Follow this and additional works at: https://egrove.olemiss.edu/hon_thesis Recommended Citation Blocker, Christopher Michael, "The Stones and the Bones: Contemporary Issues in Cultural Property" (2007). Honors Theses. 1950. https://egrove.olemiss.edu/hon_thesis/1950 This Undergraduate Thesis is brought to you for free and open access by the Honors College (Sally McDonnell Barksdale Honors College) at eGrove. It has been accepted for inclusion in Honors Theses by an authorized administrator of eGrove. For more information, please contact [email protected]. The Stones and the Bones: Contemporary Issues in Cultural Property By Christopher Michael Blocker A thesis submitted to the faculty of The University of Mississippi in paitial fulfillment of the requirements of the Sally McDonnell Barksdale Honors College Oxford May 2007 Approved by Advisor: Professor Aileen Ajootian Reader: Professor Matthew Murray Reader: Professor Nancy Wicker Reader: Professor Charles Gates ackn()wu:d(;i:mi:nts I would like lo lhaiik Dr. Ailccn Ajootian for her help these past four years, as well as Dr. Matthew Murray. Dr. Nauey Wieker. and Dr. Charles Gates, my thesis readers. Ytuir insight has been invaluable. IV ! I How can we live without our lives? How will we know it's us without our past? John Steinbeck—The Grapes of Wrath V ABSTRACT CHRISTOPHER MICHAEL BLOCKER: The Stones and the Bones: Modern Issues in Cultural Property (Under the direction of Aileen Ajootian) Cultural property has recently become an important issue in the international community.
    [Show full text]
  • © in This Web Service Cambridge University
    Cambridge University Press 978-1-107-00123-7 - The Art and Archaeology of Ancient Greece Judith M. Barringer Index More information I n d e x Abdalonymos of Sidon. See Alexander tomb of. See Alexandria (Egypt), tombs, Sarcophagus Alexander the Great Achaia, 384 and Zeus, 304 Achaians, 41 , 162 , 163 , 164 , 189 , 199 , 233 Alexandria (Egypt), 281 , 332 , 335 , 340–342 Achilles, 162 , 163 , 395 city plan, 340 and Ajax, 163–164 grotesques, 343 father of Neoptolemos, 299 harbors, 340 and Polyxena, 158 Homereion, 345 and Telephos. See Tegea, temple of Athena library, 340 , 343 Alea Mouseion, 340 , 345 , 350 and Thetis, 221 , 278 Pharos lighthouse, 340 and Troilos, 162 Sarapeion, 340 Actium, Battle of, 322 , 340 , 401 tombs Aemilius Paullus, 371–373 Alexander the Great, 340 Aeneas, 390 , 391 , 395 Moustafa Pasha Tomb I, 341–342 Aeolic order, 85–86 Alkamenes, 252 Afghanistan, 304 . See also Ai Khanoum; Baktria Alkestis, 260 Agamemnon, 41 , 51 Alkmaionidai, 175 agora, 122 . See also Athens, Agora ; Delos, Agora of Al Mina, 71 the Italians; Thasos Altar of Domitius Ahenobarbus, 386–389 Agrippa, Marcus, 401 Amasis (Egyptian pharaoh), 168 Ahuramazda. See Nemrud Dagh Amasis Painter, 167–168 Ai Khanoum, 304 , 328 , 364–367 Amazonomachy, 233 . See also Athens, Aiakos, 200 Akropolis, Lesser Attalid Monument ; Aigina Athens, Akropolis, Parthenon ; Bassai, and Athens, 200–201 temple of Apollo ; Epidauros, temple of coinage, 128 Asklepios ; Halikarnassos, Mausoleion mother of Aiakos, 200 Amazons. See Amazonomachy temple of Aphaia, 200 , 225 , 334 Amyntas. See Olympia, Philippeion Aischylos, 248 Anavysos. See kouroi (sg. kouros), Anavysos Ajax, 199 ancestor cult, 72 and Achilles, 163–164 Anchises, 390 and Kassandra, 189 , 298 Andokides Painter, 169–171 and Odysseus, 164 Antenor, 183 suicide of, 114 , 164 Antigonids, 308 A k r o t i r i .
    [Show full text]
  • The Garter Room at Stowe House’, the Georgian Group Journal, Vol
    Michael Bevington, ‘The Garter Room at Stowe House’, The Georgian Group Journal, Vol. XV, 2006, pp. 140–158 TEXT © THE AUTHORS 2006 THE GARTER ROOM AT STOWE HOUSE MICHAEL BEVINGTON he Garter Room at Stowe House was described as the Ball Room and subsequently as the large Tby Michael Gibbon as ‘following, or rather Library, which led to a three-room apartment, which blazing, the Neo-classical trail’. This article will show Lady Newdigate noted as all ‘newly built’ in July that its shell was built by Lord Cobham, perhaps to . On the western side the answering gallery was the design of Capability Brown, before , and that known as the State Gallery and subsequently as the the plan itself was unique. It was completed for Earl State Dining Room. Next west was the State Temple, mainly in , to a design by John Hobcraft, Dressing Room, and the State Bedchamber was at perhaps advised by Giovanni-Battista Borra. Its the western end of the main enfilade. In Lady detailed decoration, however, was taken from newly Newdigate was told by ‘the person who shewd the documented Hellenistic buildings in the near east, house’ that this room was to be ‘a prodigious large especially the Temple of the Sun at Palmyra. Borra’s bedchamber … in which the bed is to be raised drawings of this building were published in the first upon steps’, intended ‘for any of the Royal Family, if of Robert Wood’s two famous books, The Ruins of ever they should do my Lord the honour of a visit.’ Palmyra otherwise Tedmor in the Desart , in .
    [Show full text]
  • Gennadeion Notes, I
    GENNADEION NOTES, I (PLATES 119-124) T nHE Gennadius Library, though it has been an integral part of the American School of Classical Studies since 1926, has too often remained terra incognita, or parum cognita, to many of the School's members and visitors. The reasons are not far to seek. As a collector and bibliophile,John Gennadiustook for his subject Greece, Greece in all its aspects and of all periods, classical, medieval and modern alike. Much of the collection, therefore, lies outside the normal range of classical studies. More- over, the classical section, rich though it is in certain restricted areas, notably in Renaissance editions of Greek authors and in early archaeological publications, is far from adequate for most types of research. By deliberate policy, to avoid unnecessary duplication with the main library of the School, new accessions are made almost en- tirely in the post-classical fields, and the classical portion of Gennadius' collection remains substantially as he left it. Nevertheless, it 'contains many rare items of great value and interest to the student of antiquity, and it seems appropriate, as occasion offers, to call some of these to the attention of classicists through the pages of Hesperia. The followingInote is presented, optimistically, as the first of a proposed series. I. ENGLISH ARCHAEOLOGICAL DRAWINGS OF THE XVIIITmI CENTURY' The Antiquities of Athens, measured and delineated by James Stuart, F.R.S. and F.S.A., and Nicholas Revett, painters and architects: Volume the first was printed in London in 1762. The list of subscribers, headed by the King, is long and impressive, running to five large folio pages in double columns.
    [Show full text]
  • UNIVERSITY of CALIFORNIA, IRVINE Tracing A
    UNIVERSITY OF CALIFORNIA, IRVINE Tracing a Monument: Creating Spaces THESIS Submitted in partial satisfaction of the requirements for the degree of MASTER OF ARTS In Art History By Danielle Elizabeth Ortiz Thesis Committee Professor Margaret M. Miles Associate Professor Roland Betancourt Associate Professor Andromache Karanika 2019 ©2019 Danielle Elizabeth Ortiz Dedication To Mom and Dad, for your endless support and love ii Table of Contents Page List of Figures iv Acknowledgements v Abstract of Thesis vi Introduction 1 Background 2 The Interpretation of the Frieze 3 Confronting the Lysikrates Monument 5 Memorials in Scotland 8 The Monument in Religious Context: Scotland 10 The Lysikrates Monument in England 11 An English Attraction 13 The Monument in Religious Context: England 14 The Lysikrates Monument in America 15 An Altered Form 17 Memorials in America 19 A Miniature Monument 21 Greek Revival 22 Uses of Greek Revival in the United States 23 The Vandalized Monument 24 The Persistence of the Form of the Lysikrates Monument 25 Conclusion 26 Images 27 Bibliography 32 iii List of Figures Page Figure 1 Lysikrates Monument in Athens, Greece 27 Figure 2 Stuart and Revett, Monument of Lysikrates, engraving 27 Figure 3 Stuart and Revett, Frieze of Lysikrates Monument, engraving 27 Figure 4 Dugald Stewart Monument, Calton Hill, Scotland 28 Figure 5 Robert Burns Monument, Calton Hill, Scotland 28 Figure 6 North Kirk Tower, Aberdeen, Scotland 28 Figure 7 St. Giles Church, Elgin, Scotland 28 Figure 8 Lysikrates Replica at the Gardens of Shugborough, Staffordshire, 29 England Figure 9 Charles Talbot (Alton Towers) Monument, Staffordshire, England 29 Figure 10 St.
    [Show full text]