The publications submitted here comprise Figured in Marble. The Making and
Viewing ofEigheenth-century Sculpture and my contribution to the main text of
Roubiliac and the Eighteenth-century Monument. Sculpture as Theatre (pp. 207-273;
382-387). Appendix I consists ofthe Catalogue ofRoubiliac's Funerary Monuments
from the latter study, which is almost entirely my own work but incorporates some
material provided by David Bindman and Tessa Murdoch) and Appendix II lists ten
articles that supplement the material presented in the two books. Together Roubiliac
and the Eighteenth-century Monument and Figured in Marble, along with the related
articles, draw on and to some degree re-work various genres of writing employed in
studies of the history of sculpture. At the same time they also take account of the large
literature about British art and, more particularly, the changing approaches apparent in
studies of the past twenty years.My contribution to Roubiliac and the Eighteenth-century Monument (forming Part
Part II, 'Making the Monuments') is concerned with the processes of designing and
making the monuments that are discussed by David Bindman in Part I of the volume
in terms of their typology and social and religious functions. The various types of
evidence available for the procedures of commissioning, design and making followed
by this one sculptor, Roubiliac, are considered here in relation to the practices adopted
by other sculptors in England and abroad. But as well as situating Roubiliac's practice
1
in a wider context of sculptural activity, this text also very consciously departs from a
simple descriptive account and throughout attempts to address the problem of how
such workshop practices might be understood in terms oftransactions between patron,
sculptor and viewer as well as a register ofthe sculptor's own self-presentation. This
discussion, like David Bindman's Part I, constantly draws on the detailed evidence
assembled in the Catalogue which forms Part III and is here submitted as Appendix
III.. These extensive entries provide very full accounts of individual monuments, in
which both details -textual as well as material -about every surviving or
documented model or drawing, and the descriptions of completed monuments and
their construction, are prefaced with a lengthy narrative account of each commission,
from its inception to its later afterlife. Far from being summaries of what may be
found elsewhere in the text, these catalogue entries constitute an independent but
complementary text.Whereas Roubiliac and the Eighteenth-century Monument is a monograph (albeit of
an ambitious kind) about a single artist, Figured in Marble has a more discursive form
and attempts to suggest various ways of approaching eighteenth-century sculpture.
After an initial introduction that argues for the centrality of sculpture in eighteenthcentury British visual culture, the text is arranged in four sections in each ofwhich a
short methodological preamble is followed by three cases studies. The first section is
concerned with the historiography ofBritish sculpture and the ways in which both arthistorical literature and museum displays have conditioned our viewing of it. The
second section examines questions of design, making and materials while the third
looks at categories and genres. The final section deals with collecting, displaying and
viewing. As well as attempting to prompt historians ofBritish art into according
sculpture the degree of attention commensurate with that given to it by
contemporaries, Figured in Marble also argues for a closer linkage between making
and viewing, so making explicit an approach put into practice in Roubiliac and the
Eighteenth-century Monument.The critical review ofthese publications outlines the framework of debate about
sculpture in Britain to which these writings both respond and contribute and situates
them within an historiographical context. I look first at the literature on sculpture as a
distinct category of art historical writing, considering the dominant issues and
methodologies, the genres oftext in which these are addressed and then the place that
writing about British sculpture have in this tradition. Having placed my own
publications in relationship to this literature, I then go on to outline in the second
section what I see as the new approaches to the history of sculpture that I have tried to
develop in my work. The first two parts ofthis section look at sculpture as an aspect
ofBritish art and British sculpture as an aspect ofEuropean sculpture. The third and
fourth parts are concerned with two central issues - firstly, the question and reception
and viewing and, secondly, that of production and consumption - and consider how
they might addressed by those working on sculpture. A brief final coda attempts to
draw these various strands together and to summarise how the publications submitted
here represent an attempt at approaching eighteenth-century sculpture in these ways.1. Figured in Marble. The Making and Viewing of Eighteenth-century Sculpture,
London and Los Angeles, 2000. • 2. Roubiliac and The Eighteenth-century Monument. Sculpture as Theatre, New
Haven and London, 1995, 207-273, 382-387 •
3. Critical Review • Appendix I: Catalogue of Roubiliac's Funerary Monuments, forming Part III of
Roubiliac and the Eighteenth-century Monument, 275-359
• Appendix II: A list of related articles: 1. 'Multiple heads: Pope, the portrait bust and patterns of repetition', essay in Ritual,
Routine, and Regime. Institution of Repetition in Euro-American Cultures, 1650-1832,
ed. Lorna Clymer, University of Toronto Press, 2003 (forthcoming) •
2. 'Representing invention, viewing models', Displaying the Third Dimension. Models in
the Sciences, Technology and Medicine, ed. Nick Hopwood and Soraya de Chadavarian,
Stanford University Press, 2002 (forthcoming) •
3. 'Some eighteenth-century frameworks for the Renaissance bronze: historiography,
authorship and production',in The Small Bronze in the Renaissance, National Gallery of
Art, Washington, Studies in the History ofArt, 62, 2001, 211-221 •
4. ' "A sort of corporate company": the portrait bust and its setting', in P. Curtis, P. Funnell
and N. Kalinsky, Return to Life, (Flenry Moore Foundation, NPG and NPGS exhib.cat.)
Leeds, 2000 •
5. 'Bouchardon's British sitterssculptural portraiture in Rome and the classicising bust
around 1730', Burlington Magazine, CXLII (2000), 752-762 (with Colin Harrison and
Alastair Laing) •
6. ' 'La consommation de l'antique: le "grand tour" et les reproductions de sculpture
classique' in J.-R. Gaborit and A. Pasquier eds., D'apres l'Antique, (Musee du Louvre
exhib. cat.), Paris, 2000, 33-41 •
7. 'Public fame or private remembrance? The portrait bust as a mode of commemoration in
eighteenth-century England', in Memory and Oblivion. Proceedings of the XXIXth
International Conference of the History of Art held in Amsterdam, 1-7 September 1996,
Amsterdam, Dordrecht, 1999, pp. 527-535 •
8. 'Limewood, Chiromancy and Narratives of Making. Writing about the Materials and
Processes ofSculpture', Art History, 21(1998), pp. 498-530 •
9. 'Tyers, Roubiliac and a Sculpture's Fame: a poem about the commissioning of the
Handel statue at Vauxhall', The Sculpture Journal, 2 (1998), pp.41-45 •
10. 'Roubiliac and Chelsea in 1745', Transactions of the English Ceramic Circle, 17 (1997),
pp. 222-225 •
11. A Grand Design. The Art of the Victoria and Albert Museum, (co-edited with Brenda
Richardson), exhibition catalogue for the Baltimore Museum of Art, New York and
London: Abrams, 1997
1 •
12. 'Francis van Bossuit, Bottger stoneware and the Judith Reliefs', in R. Kahsnitz & P.
Volk, eds., Skulptur in Siiddeutschland. Festschrift fur Alfred Schadler, Munich, 1998,
pp. 281-294 •
13. 'The ivory multiplied: small-scale sculpture and its reproductions in the eighteenth
century', in A. Hughes and E. Ranfft, Sculpture and its reproductions, 1997, pp. 61-78 •
14. 'The making of portrait busts in the mid eighteenth century: Roubiliac, Scheemakers and
Trinity College, Dublin', Burlington Magazine, 137 (1995), pp.821-831. •
15. 'A Rage for exhibitions: the display and viewing of Wedgwood's Frog service', in H.
Young ed., The Genius of Wedgwood, London, 1995, pp.118-27, with catalogue entries
F. 1-22 (pp. 128-133) •
16. 'The Portrait Sculpture' in D. McKitterick ed., The Making of the Wren Library, Trinity
College, Cambridge, Cambridge, 1995, pp. 110-137 •
17. 'English responses to continental sculpture in the 18th century', Handbook to the
Grosvenor House Antiques Fair, London, 1993, pp. 12-17. •
18. 'Roubiliac's Argyll monument and the interpretation of eighteenth-century sculptors'
designs, Burlington Magazine, 134 (1992), pp.785-797. •
19. 'John van Nost le Jeune, Portrait d'homme', Musee du Louvre. Nouvelles acquisitions du
departement des Sculptures 1988-1991, Paris, 1992, pp.71-74. •
20. ' "Proper Ornaments for a Library or Grotto": London Sculptors and their Scottish
Patrons in the Eighteenth Century", in F. Pearson (ed.), Virtue and Vision. Sculpture and
Scotland 1540-1990, Edinburgh (National Galleries ofScotland), 1991, pp.44-57. •
21. ' "Odzooks! A man of stone". Earth, heaven and hell in eighteenth century tomb
sculpture', in J. Miller (ed.), The Don Giovanni Book. Myths of Seduction and Betrayal,
London, 1990, pp.62-69. •
22. 'Giambologna, Donatello and the sale of the Gaddi, Marucelli and Stosch bronzes', •
Stadel Jahrbuch, N.F. 12 (1989), pp.179-194.
23. 'Rysbrack's terracotta model of Lady Foley and her daughter and the Foley monument at
Great Witley', Stadel Jahrbuch, N.F., 11 (1987), pp.261-268. •
24. 'Bernini's bust of Monsignor Carlo Antonio dal Pozzo', National Art-Collections Fund
Review 1986, London, 1987, pp.99-101. •
25. 'Roubiliac's models and 18th century sculptors' working practices' in P. Volk (ed.),
Entwurf und Ausfuhrung in der europaischen Barockskulptur, Munich, 1986, pp. 133-
146. •
26. 'Sir Henry Cheere and the response to the rococo in English sculpture' in C. Hind (ed.),
The Rococo in England, London, 1986, pp. 143-160.
2 •
27. That "most rare Master Monsii Le Gros" and his Marsyas', Burlington Magazine, 127
(1985), pp.702-706. " •
28. Catalogue entries 143, 144, 217, 218, 221, 225, 237, 238, 241, 478, 512, 513 in
G.Jackson-Stops (ed.), Treasure Houses ofBritain, Washington, 1985. •
29. 'Rococo Styles in English Sculpture' and catalogue entries on sculpture and designs for
sculpture (E2, E25, Fl, F9, F10, S1-S54) in M. Snodin (ed.), Rococo. Art and Design in
Hogarth's England, (exhibition catalogue), London, 1984, pp. 278-309. •
30. 'Roubiliac and his European background', Apollo, 120 (1984), pp. 106-113. (Revised
version published in K.Kalinowski (ed.), Studien zur Werkstattpraxis der Barockskulptur
im 17. und 18. Jahrhundert, Poznan, 1992, pp.221-239 •
31. ' "A Peece of Wondrous Art" : Giambologna's Samson and a Philistine and its later
copies', Antologia di Belle Arti, n.s., 23-24 (1984), pp.62-71. •
32. 'Sculpture for Palladian Interiors: Rysbrack's reliefs and their setting', in K.Eustace (ed.),
Michael Rysbrack, (exhibition catalogue), Bristol, 1982, pp. 35-41 •
33. 'Giuseppe Mazza's Judgment ofParis', Burlington Magazine, 121 (1979), pp.174-79. •
34. 'Patrick Robertson's tea urn and the late 18th century Edinburgh silver trade',
Connoisseur, 183 (1973), pp. 289-94
