DISSERTATIONES JAANIKA ANDERSON JAANIKA STUDIORUM GRAECORUM ET LATINORUM UNIVERSITATIS TARTUENSIS 7 Reception of Ancient Art: the Cast Collections of the University of Tartu Art Museum of Ancient Art: of Tartu the Cast Collections of University Reception JAANIKA ANDERSON Reception of Ancient Art: the Cast Collections of the University of Tartu Art Museum in the Historical, Ideological and Academic Context of Europe (1803–1918) Tartu 2015 ISSN 1406-8192 ISBN 978-9949-32-768-3 DISSERTATIONES STUDIORUM GRAECORUM ET LATINORUM UNIVERSITATIS TARTUENSIS 7 DISSERTATIONES STUDIORUM GRAECORUM ET LATINORUM UNIVERSITATIS TARTUENSIS 7 JAANIKA ANDERSON Reception of Ancient Art: the Cast Collections of the University of Tartu Art Museum in the Historical, Ideological and Academic Context of Europe (1803–1918) Faculty of Philosophy, University of Tartu This dissertation was accepted for the commencement of the decree of Doctor of Philosophy (Classical Philology) on January 30, 2015 by the Committee of the College of Foreign Languages and Cultures of the University of Tartu. Supervisors: Kristi Viiding, Professor of Classical Philology, Department of Classical Philology, University of Tartu Epi Tohvri, Associate Professor, Department of Technology, Tartu College of Tallinn University of Technology Opponents: Prof. Dr. Lorenz Winkler-Horaček, curator, Institut für Klassische Archäologie der Freien Universität Berlin und Abguss-Sammlung Antiker Plastik, Berlin Dr. Aira Võsa, researcher, Tartu University Library Commencement: on March 20, 2015 at 12.15, in the Senate room of the Uni- versity of Tartu (Ülikooli 18). ISSN 1406-8192 ISBN 978-9949-32-768-3 (print) ISBN 978-9949-32-769-0 (pdf) Copyright: Jaanika Anderson, 2015 University of Tartu Press www.tyk.ee ACKNOWLEDGEMENTS I am very grateful to the people who have directly or indirectly contributed to the completion of this dissertation. First of all I would like to thank my supervisors: Prof. Anne Lill, who encouraged me in the start-up phase of the dissertation to deal with the history of university’s art museum; and I am forever grateful to Prof. Kristi Viiding for her patience, moral support, useful comments and conversations on various topics. I give my special thanks to Associate Professor Epi Tohvri whose recommendations led to consider the emphases of the thesis. I am very grateful to Prof. Dr. Lorenz Winkler-Horaček and Dr. Aira Võsa for their remarks and recommendations made during review of this dissertation and I am thankful to Michael Haagensen for correcting my English. My very special gratitude goes to Prof. Dr. Valentin Kockel, who introduced me to the exhibition Götter & Caesaren aus der Schublade which he and Dr. Daniel Graepler curated in Augsburg in June 2006. This led me to see the research possibilities and need for cast collections. I want to thank the members from Department of Classical Philology and the Institute of Germanic, Romance and Slavonic Languages and Literatures, my colleagues in the University of Tartu Art Museum and near different plaster cast collections. I would also like to give my gratitude to the University of Tartu Library, the University of Tartu Museum, Estonian Historical Archive and the State Archive of Latvia. During the long process of the completion of the thesis, I have encountered many people who have helped to complete the dissertation with their hints, indications and conversations. I am very grateful to them. Thanks to the DoRa program activity 8 support (2010, 2014) I could participate conference, visit cast collections and discuss with specialists in those collections in Göttingen and Berlin and thanks to the university partner agreement I could visit the University of Hamburg Library for research (2008). I appreciate involvement in the grant of Epi Tohvri (ETF9362 Enlightenment Educational Ideas applied by Georges Frédéric Parrot and Thomas Jefferson and the Interpretations of these Educational Conceptions in the 21 Century), and the support of the grant for me. University of Tartu Art Museum collections are part of Estonian scientific collections which are supported by Ministry of Education and Research of Estonia. Last but not least, I want to say how grateful I am to my family – husband Kristo, dear daughter Adele Aliis and son Herman Jakob, for being patient and understanding throughout my writing of the dissertation. 5 TABLE OF CONTENTS Introduction ................................................................................................... 10 The terminology, objects, aims, methods and organisation of the dissertation ........................................................................................ 11 Historiography, bibliographical sources and previous research on this theme ................................................................................................ 16 PART I. Preconditions and Background ....................................................... 21 1.1 Casting and Collecting in Antiquity ................................................. 21 1.2 Developments in collecting and casting ancient art in the Middle Ages and Early Modern Times ......................................................... 24 1.2.1 The Middle Ages (5th–13th century) ..................................... 24 1.2.2 Renaissance humanism and Early Modern Times (14th–18th century) ............................................................... 26 1.2.2.1 Antiquarianism .......................................................... 32 1.3 Casting and collecting ancient art in the Enlightenment and the Modern period (17th–19th century) ................................................. 34 1.3.1 Scientific, cultural and social preconditions for the spread of plaster cast collections ............................................................ 34 1.3.1.1 Modern archaeology .................................................. 35 1.3.1.2 The rise of Hellenism ................................................ 40 1.3.1.3 J. J. Winckelmann and the establishing of art history 42 1.3.1.4 Travelling and the Grand Tour .................................. 44 1.3.2 The main trends in casting and collecting .............................. 46 1.3.2.1 Comprehensive collecting: opening of private collections and the founding of public museums ....... 47 1.3.2.2 Massive manufacturing of casts ................................ 50 1.3.2.3 Exhibiting the collections: libraries, galleries in private houses, exhibitions in public museums, dactyliothecae ............................................................ 54 1.4 Cast collections in European universities and art academies ........... 57 1.4.1 Cast collections in German universities .................................. 59 1.4.2 Academic cast collections in St. Petersburg, Oxford, Helsinki 64 1.4.3 Cast collections in drawing academies .................................... 67 1.4.4 Some aspects of the value of plaster cast collections today .... 68 1.5 Concluding remarks .......................................................................... 69 PART II. Collecting and exhibiting casts in the University of Tartu Art Museum 1803–1918 ...................................................................................... 71 2.1 Main developments of interaction with the antiquities in Estonia before the Enlightenment: visual and literary evidence .................... 71 2.2 The Baltic Enlightenment ................................................................. 76 2.2.1. The impact of the Enlightenment on Estonian art life ............ 79 2.2.2 Reopening the University of Tartu in the spirit of the Enlightenment ........................................................................ 84 7 2.3 Karl Morgenstern and the idea of Universalmuseum ....................... 89 2.3.1 General directions of collecting 1803–1837 ............................. 94 2.3.1.1 Collecting gem casts .................................................. 98 2.3.1.1.1 Encyclopaedic and didactic gem cast collections .................................................. 100 2.3.1.1.2 Gem cast collections as souvenirs .............. 114 2.3.1.2 Collecting of coin casts ............................................. 118 2.3.1.2.1 The Stieglitz coin cast collection ............... 119 2.3.1.2.2 The Mionnet coin cast collection ............... 119 2.3.1.2.3 Collection of the Royal Museums of Berlin and unknown collections ............................ 121 2.3.1.3 Collecting sculpture casts .......................................... 122 2.3.1.3.1 Sculpture casts in the University Library ... 124 2.3.1.3.2 Plaster casts in the Drawing School of the University of Tartu ..................................... 125 2.4 Desire for perfection: Ludwig Mercklin, Ludwig Schwabe and Georg Loeschcke .............................................................................. 126 2.4.1 The rise of interest in casts of sculptures ................................. 128 2.4.1.1 Mercklin and his journeys ......................................... 134 2.4.2 Pompeian interiors and ancient ceramics – Ludwig Schwabe’s innovation ........................................................... 137 2.4.3 The casts of temple sculptures and the latest finds. Systematic growth of the cast collection – Eugen Petersen and Georg Loeschcke ............................................................ 139 2.5 Collecting and Publishing: Woldemar Malmberg, Ernst Felsberg ... 144 2.5.1 The latest acquisitions of sculpture casts ................................ 145 2.5.2 Cataloguing the sculpture