Seite - 201 - in Der Arkadenhof der Universität Wien und die Tradition der Gelehrtenmemoria in Europa

ively, the upholders of what were seen as English liberties (Fig. 2).9 But the setting in which such series of busts of writers and thinkers were more prominent was the library. Increasingly, libraries in private houses were furnished with paintings or busts of authors. When Pierre-Jean Grosley in the mid- 1760s visited the library of Lord Morton’s Lon- don house, he described how the several faculties and branches of science, which are elsewhere distinguished by simple inscrip- tions, are represented by a basso-relievo in paint- ing, which unites in several groupes the most emi- nent men in each faculty, both amongst the ancients and moderns: the centre of each basso-relievo pre- sents the picture of some Englishman, who appears to hold the first rank in that particular branch of science.10 The library of the physician Dr Richard Mead included busts of Milton, Shakespeare and Pope, and we know that as the friend of Pope, Halley and Newton, he placed their portraits in his house near the Busts of their great Masters, the antient Greeks and Romans.11 By far the most extensive series of author busts were, however, to be found in the libraries of public institutions, such as those being erect- ed in the seventeenth and eighteenth centuries by colleges in Oxford, Cambridge and Dublin (Fig. 3).12 Here a visual articulation of a literary Fig. 3: The Long Room, Trinity College, Dublin. Engraving from James Malton, A Picturesque and de- scriptive View of the City of Dublin, 1797. A very puissAnt spurre 201 9 For Queen Caroline’s Hermitage, see J. Colton, Kent’s Hermitage for Queen Caroline at Richmond, in: Architec- tura, II, 1974, pp.181–190; for the Temple of British Worthies, see K. Eustace, Stowe and the Development of the Historical Portrait Bust, in: Apollo, CXXXXVII, 1998, pp. 31–40. 10 P.J. Grosley, A Tour to London, London 1776, p.196. 11 M. Maty, Authentic Memoirs of the Life of Richard Mead M.D., London 1755, p. 63. 12 On the Dublin example, see M. Baker, The making of portrait busts in the mid-eighteenth century: Roubiliac, Scheemakers and Trinity College, Dublin, in: Burlington Magazine, CXXXVII, 1995, pp. 821–831.