Seite - 206 - in Der Arkadenhof der Universität Wien und die Tradition der Gelehrtenmemoria in Europa

again, the modifications are significant and ef- fective. Strikingly, the hair is no longer clumped together on either side of the face but broken up into separate strands, articulated through deep undercutting and very visible drill-work, while the face itself is more lined, the furrowed brow being used to suggest the concentration of study. The animation of an historicising image takes another form in the bust of Robert Cotton, given in 1757 (Fig. 11). This image, with its agitat- ed and deeply undercut ruff, bearded head and dramatically arched eyebrows and drilled eyes, is among Roubiliac’s most virtuoso marbles. Alongside these historicising busts were a number of portraits of more or less contempor- ary figures, such as Baron Trevor, Lord Whit- worth and Thomas Bentley, the controversial former Master of the College. The busts commissioned from Roubiliac for Trinity do not conform to a single, famil- iar type. Instead, they represent the full range of modes and formulae employed by the sculp- tor in his sculptural portraiture. While a single bust or statue, prominently displayed, might at- tract attention and help to add to the sculptor’s renown, the opportunity to execute a series of ambitious busts as well as a major statue for dis- play in a space that was as much public as pri- vate meant that Roubiliac’s sculptural portrait- ure could be seen in all its variety. This set of linked commissions involved a network of pa- trons, with Smith and his Vice-Master at Trin- ity, Richard Walker, prompting and coordinat- ing what was in effect a collective programme. As a result, these works are quite exceptional. The bust of Francis Willoughby, for ex- ample, was given by Edmund Garforth who had married Wiloughby’s great-granddaugh- ter, while that of Baron Trevor was donated by his daughter and that of Baron Whitworth by his nephew. Where the donors were male, most had been undergraduates at the college, so that Fig. 7: Louis-François Roubiliac, John Ray, 1751–55, marb- le. Trinity College, Cambridge. Fig. 8: Louis-François Roubiliac, Francis Willoughby, 1751– 55, marble, Trinity College, Cambridge. malcolm baker206 Open Access © 2018 by BÖHLAU VERLAG GMBH & CO.KG, WIEN KÖLN WEIMAR