Frieze of Parnassus

The Frieze of Parnassus is a large sculpted stone frieze circling the podium, or base, of the Albert Memorial in London, England. The Albert Memorial was constructed in the 1860s in memory of Prince Albert, the husband of Queen Victoria. The frieze is named after Mount Parnassus, the favorite resting place for the Greek muses, and contains 169 life-size full-length sculptures, a mixture of low-relief and high-relief, of individual composers, architects, poets, painters, and sculptors from history. The depictions of earlier figures were necessarily imaginary, though many of the figures were based on a collection of artworks and drawings gathered for the purpose of ensuring authentic depictions, where this was possible. The total length of the frieze is around 210 feet. The frieze was intended to be the 'soul' of the memorial, and the memorial's designer, George Gilbert Scott, stated that he was inspired by the Hémicycle des Beaux Arts by Hippolyte Delaroche. [ [http://www.british-history.ac.uk/report.aspx?compid=47524 'Albert Memorial: The memorial'] , Survey of London: volume 38: South Kensington Museums Area (1975), pp. 159-176: " [The frieze's] affinity to Delaroche's Hémicycle des Beaux Arts in the École des Beaux Arts was avowed by Scott himself." (date accessed: 18 May 2008)]

Musicians and poets were placed on the south side, with painters on the east side, sculptors on the west side, and architects on the north side. Henry Hugh Armstead carved the figures on the south and east side, the painters, musicians and poets (80 in total), and grouped them by national schools. John Birnie Philip carved the figures on the west and north side, the sculptors and architects (89 named figures, plus two generic figures), and arranged them in chronological order. The carving was done "in situ", and was said by Scott to be "perhaps one of the most laborious works of sculpture ever undertaken". The initial contracts (agreed in around 1864) had specified that the work was to be done in four years for £7,781 15s. However, the eventual cost exceeded this by some £2000, and the work was not finished until 1872.

Large groups of figures of eminent persons from the past often decorate public buildings and monuments of the later 19th century, and some buildings such as the Walhalla temple in Bavaria and the Panthéon in Paris were dedicated to this purpose. Many figures of visual artists decorate the Victoria and Albert Museum close to the Albert Memorial at the other end of the "Albertopolis" complex. A mosaic frieze of more generalised figures from the arts runs round the circular Royal Albert Hall adjacent to the Memorial. The Parnassus by Raphael (1511), opposite the philosophers of The School of Athens in the Vatican Raphael Rooms, is an earlier group portrait of great artists.

Gallery

List of figures

election, arrangement and omissions

The selection of figures reflects contemporary thinking, though even by the taste of the 1860s it seems odd to omit Schubert, then considered rather lightweight, whilst including Daniel Auber and Grétry. Among the painters, a classical tradition predominates to the extent that there is no hint of Mannerism in the sixteenth century and Giulio Romano is omitted, nor is there any reference to Rococo taste , where a modern list would include Antoine Watteau and François Boucher. The painters reflect to some extent Albert's own taste for the "Primitives" of the late Middle Ages, though Duccio is absent. Botticelli and Vermeer were yet to be rediscovered, and El Greco, Caravaggio and Goya, who would all figure in a modern canon, were mostly regarded with suspicion. No English poet after John Milton was featured. Among the architects, the figure of Nitocris (the only female figure on the frieze) may have been selected because it was at one time thought that she was the pharaoh responsible for the pyramid now credited to Menkaura.

Other figures commemorated elsewhere on the Albert Memorial, on the canopy mosaics but not on the frieze, are Apelles (painting), King Solomon (architecture) and King David (poetry). The preferred south side of the memorial (the direction in which Albert's statue faces) is populated by poets and musicians, with poets at the centre in accordance with the Victorian concept of poetry as the highest of the arts. The arrangement of the other groups also reflects this Victorian thinking, with the fine arts of the sculptors and painters on the east and west sides joining a spiritual side on the south (the poets and musicians) and a material side on the north (the architects). At least three of the sides also have a central, pre-eminent figure seated on a throne, with Homer for the poets, Raphael for the painters, and Michaelangelo for the sculptors.

Authenticity and details

Authentic points of detail and historical accuracy include Phidias being depicted as bald, the phorminx (lyre) held by the bard Homer, William Hogarth's dog, Paolo Veronese's hand resting on a greyhound [One of Veronese's works is titled " [http://www.scholarsresource.com/browse/work/2144551544 Boy with a Greyhound] "] , Daniel Auber's right arm in a sling, the building models held by William of Wykeham and Jean de Chelles, the model of Trajan's Column held by Apollodorus of Damascus, the object held by Hiram, the sculptures held by Dibutades and Phidias, Ghiberti leaning on a panel, the sculptures being held by Donatello and Michelangelo, and the statue being admired by the group to the right of Cellini. Authentic period detail is also seen in much of the clothing, the facial hair, furniture and accessories, including scrolls, books, swords and palettes. The figures are also posed, either in isolation or in groups, with some figures facing each other in poses of admiration or deep in conversation.

References

External links

* [http://www.british-history.ac.uk/report.aspx?compid=47524#s2 History of the design and construction of the podium figures]
* [http://www.victorianweb.org/sculpture/armstead/bio1.html Critical commentary and evaluation of the depictions of the poets, musicians and painters]