Book contents
- Frontmatter
- INTRODUCTION
- Contents
- Plate I THE STATUE OF SIR ISAAC NEWTON IN THE ANTE-CHAPEL
- Plate II NEWTON
- Plate III FRANCIS WILLOUGHBY
- Plate IV FRANCIS WILLOUGHBY, British Museum
- Plate V BACON
- Plate VI JOHN RAY
- Plate VII JOHN RAY, British Museum
- Plate VIII BARROW
- Plate IX BARROW
- Plate X BENTLEY
- Plate XI BENTLEY
- Plate XII PLASTER CAST OF THE BUST OF BENTLEY, Lambeth Palace
- Plate XIII LORD TREVOR
- Plate XIV LORD WHITWORTH
- Plate XV SIR EDWARD COKE
- Plate XVI SIR ROBERT COTTON
- Plate XVII TERRACOTTA MODEL FOR THE BUST OF COTTON AT TRINITY, British Museum
- Plate XVIII MONUMENT OF DANIEL LOCK, F.R.S., IN THE ANTECHAPEL OF TRINITY COLLEGE
- Plate XIX MONUMENT OF FRANCIS HOOPER, S.T.P., BY ROUBILIAC'S PUPIL, NICHOLAS READ, IN THE ANTE-CHAPEL OF TRINITY COLLEGE
- Plate XX THE DEATH-MASK OF SIR ISAAC NEWTON
- NOTE ON PLATE XVIII
Plate XII - PLASTER CAST OF THE BUST OF BENTLEY, Lambeth Palace
Published online by Cambridge University Press: 05 July 2011
- Frontmatter
- INTRODUCTION
- Contents
- Plate I THE STATUE OF SIR ISAAC NEWTON IN THE ANTE-CHAPEL
- Plate II NEWTON
- Plate III FRANCIS WILLOUGHBY
- Plate IV FRANCIS WILLOUGHBY, British Museum
- Plate V BACON
- Plate VI JOHN RAY
- Plate VII JOHN RAY, British Museum
- Plate VIII BARROW
- Plate IX BARROW
- Plate X BENTLEY
- Plate XI BENTLEY
- Plate XII PLASTER CAST OF THE BUST OF BENTLEY, Lambeth Palace
- Plate XIII LORD TREVOR
- Plate XIV LORD WHITWORTH
- Plate XV SIR EDWARD COKE
- Plate XVI SIR ROBERT COTTON
- Plate XVII TERRACOTTA MODEL FOR THE BUST OF COTTON AT TRINITY, British Museum
- Plate XVIII MONUMENT OF DANIEL LOCK, F.R.S., IN THE ANTECHAPEL OF TRINITY COLLEGE
- Plate XIX MONUMENT OF FRANCIS HOOPER, S.T.P., BY ROUBILIAC'S PUPIL, NICHOLAS READ, IN THE ANTE-CHAPEL OF TRINITY COLLEGE
- Plate XX THE DEATH-MASK OF SIR ISAAC NEWTON
- NOTE ON PLATE XVIII
Summary
This delightful work, in which I recognised Roubiliac's hand long before identifying the subject, must have been taken from the marble before it was mounted on its pedestal, as the position, with the head lower, and the admirably unobtrusive foot show. In the Trinity bust the drapery ends well above the pedestal and the head is raised, and any cast taken after 1756 would inevitably reproduce these features; the cast must therefore have been executed in Roubiliac's studio before the original went to Trinity. Although the surface is injured by varnish, the play of light and shade and the delicacy of the detail give the work an artistic value rare in a plaster cast and enhanced by the softened dignity of the pose.
- Type
- Chapter
- Information
- Roubiliac's Work at Trinity College Cambridge , pp. 25 - 26Publisher: Cambridge University PressPrint publication year: 2009First published in: 1924