Seite - 205 - in Der Arkadenhof der Universität Wien und die Tradition der Gelehrtenmemoria in Europa

… in Order for the making of a Busto of him to be placed in the said College (Fig. 9).17 The two busts of Ray and Willoughby illus- trate well how Roubiliac could use a variety of earlier visual sources and then create a likeness of an historical figure that has all the immediacy and animation of an ad vivum portrait. That of Willoughby seems to have been based on a late seventeenth-century portrait (probably made ac- cessible to Roubiliac by the sitter’s descendants), which shows him holding a book.18 The painted source is, however, enlivened by the treatment of the hair and collar so as to suggest that they are caught by a breeze from the sitter’s right hand side, to which Willoughby turns his head. Ray’s image is rather more static. The lower part of this bust in fact replicates a pattern used for a con- temporary figure: Jonathan Tyers, the proprietor of Vauxhall Gardens and very much still living (Fig. 10).19 The introduction of the collar and the chiselling of the inner side of the drapery envel- oping the bust – a feature introduced in the mar- ble version but not yet present on the model – means that there is no disparity between bust and head. In this case, the head is based on the portrait (then in the British Museum) but, here Fig. 6: Interior of the Wren Library with busts of Francis Bacon and Sir Isaac Newton at the far end, Trinity College, Cam- bridge, 1815, aquatint. From R. Ackermann, A History of the University of Cambridge. A very puissAnt spurre 205 17 British Museum, MS, Trustees General Minutes, II, p. 240. 18 For a fuller analysis of this relationship see Baker, The Marble Index (cit. n. 6), pp. 304–306. 19 On the use of replication in the making of models, see Baker, The making of portrait busts (cit. n.12); Baker, The Marble Index (cit. n. 8), pp. 193–200.