By Kate Nichols

The marble halls of the British Museum may appear the traditional habitat for classical sculpture, yet within the 19th century its sombre monitors have been faraway from being the single position that folks encountered antiquities. From 1854, a rival choice of classical sculpture, comprising plaster casts from significant ecu museums and scaled down architectural beneficial properties, was once on convey within the South London suburb of Sydenham, within the Crystal Palace which had housed the Great
Exhibition of 1851. by way of the overdue 1850s, million viewers have been passing throughout the glass doorways of the Sydenham Crystal Palace every year, greater than two times as many as recorded on the British Museum. Many extra humans, and from a wider variety of social strata, observed the painted solid of the Parthenon frieze
in Sydenham than the unique in Bloomsbury.

Utilizing an in depth number of archival fabric, together with diaries, scrapbooks and pictures, Greece and Rome on the Crystal Palace inspires customer reports at Sydenham, and examines the dialogue that arose round the presentation of classical plaster casts to a mass viewers. It uncovers the social, political, and aesthetic position of historic Greek and Roman sculpture in sleek Britain, assessing how classical paintings figured in debates over layout reform, style, attractiveness and
morality, category and gender, and race and imperialism.

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Greece and Rome at the Crystal Palace: Classical Sculpture and Modern Britain, 1854-1936 (Classical Presences) by Kate Nichols


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