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Napoleon and Egyptomania in Tennessee

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Napoleon and Egyptomania in Tennessee Napoleon and Egyptomania in Tennessee An Exhibition September 6, 2008–January 19, 2009 Frank H. McClung Museum Elaine A. Evans, curator Napoleon and Egyptomania in Tennessee Entrances and colossal statues in the Egyptian Court of the Crystal Palace, 1851 An Exhibition September 6, 2008–January 19, 2009 Frank H. McClung Museum Elaine A. Evans, curator Front cover images: Main image: Entrances and colossal statues in the Egyptian Court of the Crystal Palace, pg. 36. Smaller images from left to right: Mausoleum, pg. 30; Scarab Bracelet, pg. 29; The Louis Bailey Audigiers at Giza, pg. 28; Memphis Pyramid Arena, pg. 28; Stained Glass from Downtown Presbyterian Church, pg 28. Title page image: Entrances and colossal statues in the Egyptian Court of the Crystal Palace, pg. 36. Back cover images from left to right: Stained Glass from Downtown Presbyterian Church, pg 28; Masonic lodge, pg. 32; Tea canister, pg. 25; Interior of David Price’s Egyptian Hall Museum, pg. 35; Trade card, pg. 31, Bread plate, pg. 25; Border from Downtown Presbyterian Church, pg 28. “Napoleon and Egyptomania in Tennessee” By Elaine Altman Evans Curator/adjunct assistant professor An exhibition September 6, 2008–January 19, 2009 Frank H. McClung Museum The University of Tennessee, Knoxville Occasional paper number 20 The University of Tennessee is an EEO/AA/Title VI/Title IX/Section 504/ADA/ADEA institution in the provision of its education and employment programs and services. All qualified applicants will receive equal consideration for employment without regard to race, color, national origin, religion, sex, pregnancy, marital status, sexual orientation, gender identity, age, physical or mental disability, or covered veteran status. PAN R01-0130-148- 001-09 • A project of the Frank H. McClung Museum with design and editorial assistance from UT Creative Communications, 865- 974-0765 Rev: 8832 ISBN 1-880174-06-5 ii iii Table of Contents iv Foreword v Introduction The gripping story of General Napoleon Bonaparte (1769–1821) Egyptian motifs and styles being used in Western art and and his invasion of Egypt in 1798 and the effect it had on architecture. Fashions and furnishings of the day were heavily stimulating Western interest in Egypt is the theme of this impacted. Archaeologists were excavating, Egyptologists were exhibition. The exhibition demonstrates the ensuing phenomena discovering, books about Egypt were studied, hieroglyphs were of Egyptomania, a craze for all things Egyptian, as it manifested being deciphered, museums were collecting Egyptian objects, close to home. travelers were flocking to Egypt, and international expositions Western culture had shown a fascination with Egypt, included Egyptian monuments and design. Then in 1922, the from the Greco-Roman period through to the 18th century fabulous tomb of Tutankhamen was discovered, creating another and its lively interest in Orientalism. The exhibition traces wave of interest. What had emerged was a mania for interpreting this historical interest in Egypt and focuses on how it grew Egypt. In Europe and the United States, the world of decorative to an obsession in the wake of the Napoleon expedition. arts and architecture had taken notice. The fires were stoked, and This increased awareness contributed to the Egypt’s lasting Egyptomania continued to steam ahead. influence on design movements of the 19th and 20th centuries Egyptomania quickly crossed the Atlantic to the United in Europe and the United States. Introducing the exhibition is a States, but it arrived much later in Tennessee. This exhibition section about Napoleon, the invasion of Egypt, and Orientalism displays some architectural examples of the Egyptian Revival as illustrated by original paintings, special engravings, scarce style and other representations of Egyptomania found prints by major artists, rare books, decorative obelisks, Turkic throughout the state. Photographic images, for example, recall lamps, Napoleonic miniatures, statuary, and medals. These set the Egyptian Palace at Nashville’s Tennessee Centennial and the stage for the 40 monumental engravings of Egypt in the International Exposition of 1897, along with original papers McClung Museum collections. from the exposition. And photos of Nashville’s First Presbyterian Napoleon had brought not only his French forces to Egypt in Church, built between 1849 and 1851, document this perfect 1798 but also a group of some 167 French scholars to record the example of the Egyptian Revival style in architecture. Other ancient monuments and modern aspects of strange and distant images include the Pyramid Arena in Memphis, several buildings country. Their scientific observations and research resulted in Tennessee designed in an Egyptian style, and a number of in the publication of Description de l’Égypte in Paris between cemeteries with their prominent obelisks and sphinxes. the years of 1809 and 1828, a famous multivolume work full In the three-dimensional decorative-art category is an of extraordinary large copperplate engravings detailing their ornamental stone obelisk, symbolizing the obelisk of the great work. The volumes contain 837 engravings, many of which are pharaoh Ramesses II that was removed from Egypt and re- multiple illustrations that bring the total number to more than erected in the Place de la Concord in Paris in 1836. Also on 3,000. This great work gave the 19th-century reader rich and well- display are a handsome 19th-century bronze and stone clock documented view of the wonders of the great Nile Valley and its flanked by gilded female figures, a charming rug decorated with long-lasting influence on art and architecture. The exhibition’s an Egyptian queen and goddess, and an elegant chess set that displayed selection of these amazing engravings can once again has playing pieces shaped as ancient Egyptian kings, queens, and illustrate the magnitude of the contributions of the French symbolic figures. The exhibition also features Egyptomania in engineers, architects, artists, geologists, geographers, artisans, Tennessee as demonstrated in such other categories as original botanists, polyechnicians, and others to Western understanding memorabilia, silverware, ceramics, glassware, advertisements, of both ancient and modern Egypt. And their 1799 discovery of music, magic, and entertainments, including exhibitions about the Rosetta Stone led to the eventual deciphering of ancient Egypt and a short presentation of film clips from movies with hieroglyphs, which had long confounded would-be translators. Egyptian themes. We hope you will enjoy discovering ancient In the decades that followed the Napoleonic Expedition Egypt anew in Tennessee. and the publication of Description d’Egypte, art and design were In conclusion, the author assumes responsibility and heavily influenced by explosion of interest in Egyptian history apologizes for any important oversights or errors of judgment in and culture. Minute scientific examinations of ancient Egyptian creating the text. Due to space limitations, descriptions of some structures and cultural artifacts gave rise to an increase of objects in the exhibition had to be omitted. vi Acknowledgments It is a pleasure for me to extend my sincere thanks to a few of the many people who were so kind with their interest and efforts. The exhibition and mini-catalogue would not have been possible without their helpful input and the generous sponsorship of the Aletha and Clayton Brodine Museum Fund. I am particularly grateful to Mark Brown, director of Belmont Mansion, Nashville, who was so supportive in offering his assistance and time in contacting lenders and arranging photographic sessions of some of the objects in this publication. My thanks to Steve Dean, producer, for such a wonderful and creative film-clip presentation for the exhibition. A note of appreciation goes to Nick Wyman and William Eigelsbach, as well as to Special Collections, University Libraries, the University of Tennessee, Knoxville, for their interest and for arranging the loan of essential rare books. I wish to thank, too, James Hoobler, curator, Tennessee State Museum, who, among other things, made several valuable suggestions regarding the Egyptian Revival style in Tennessee. I must mention especially Aimee B. James, manager, Nashville Room, Nashville Public Library, for her generosity and Wayne Moore, assistant state archivist, and Jay Richiuse, head of archives, both at the Tennessee State Library and Archives, for their spirited support. My grateful appreciation to Joseph S. Mella, director, Vanderbilt University Fine Arts Gallery, for his keen interest and cooperation and to Juanita G. Murray, director, Special Collections and University Archives, the Jean and Alexander Heard Library, Vanderbilt University, for her kindness in lending a few of their exceptional treasures. I am indebted to W. Graham Arader III, New York, for his contribution of fine original engravings fromDescription , happily now in the McClung Museum’s collection. I appreciate also Hal Watts, secretary, Knoxville Scottish Rite, for invaluable information Napoleon Bonaparte as King of Italy, 19th century about Egypt and Freemasonry. Artist: Copiest unknown It was my good fortune to have had the assistance of Madeline James as a student assistant. Her cheerful manner, computer expertise, attention to the smallest detail, general willingness, and dependability were priceless. I also wish to add a hearty thanks to members of the McClung Museum staff for their many efforts and considerations.
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