(Roughly) Daily

Posts Tagged ‘monument

“Immigrants, we get the job done”*…

When the Piccirilli Brothers arrived in New York from Italy in 1888, they brought with them skill, artistry, and passion for stone-carving unrivaled in the United States. At their studio at 467 East 142nd Street, in the Mott Haven Section of the Bronx, the brothers turned monumental slabs of marble into some of the nation’s recognizable icons, including the senate pediment of the US Capitol Building and the statue of Abraham Lincoln that sits resolutely in the Lincoln Memorial on the National Mall.

The Piccirillis not only helped set our national narrative in stone but they also left an indelible mark on New York City. They carved hundreds of commissions around the five boroughs, including the 11 figures in the pediment of the New York Stock exchange, the “four continents” adorning the Customs House at Bowling Green, the two stately lions that guard the New York Public Library, both statues of George Washington for the Arch at Washington Square, and upwards of 500 individual carvings at Riverside Church…

The remarkable story of a remarkable family: “How six Italian immigrants from the South Bronx carved some of the nation’s most iconic sculptures.” 

* Lin-Manuel Miranda (as Hamilton, to Lafayette in Hamilton)

###

As we celebrate sculpture, we might wish a grateful Happy Birthday to another son of Italy, Galileo Galilei, the physicist, mathematician, astronomer, and philosopher who, with Francis Bacon, pioneered the Scientific Method; he was born on this date in 1564.  It was Galileo’s observations that gave conclusive support to Copernicus’ heliocentric theory of the solar system.

Tintoretto’s portrait of Galileo

  source

“Eternity is a long time, especially towards the end”*…

 

A soldier, an urn, and “Faith,” all available from the 1882 Monumental Bronze Co. catalog

In 1898, the people of Elberton, Georgia—like those of many Southern towns a few decades after the Civil War—commissioned a granite statue to honor those local men who had fought for the Confederate army. Two years later, late one night, those same people took their own monument down. Public opinion of the war hadn’t shifted much: the statue was just ugly, with bug eyes, and what looked suspiciously like a Union-style overcoat. The citizens had nicknamed it Dutchy, because it resembled, one said, “a cross between a Pennsylvania Dutchman and a hippopotamus.”

According to the Elberton Star, on August 13, 1900, around midnight, a group of men tugged Dutchy down via “a rope around his neck.” A few days later, they buried him. And after they’d dusted themselves off, what did they do? They ordered a brand new “white bronze” statue from Monumental Bronze Co.—because one of those, they had been told, would last forever.

Today—117 years later—Dutchy’s replacement still stands. (It has been moved several times, and is now at Confederate Memorial Park, in Lee County.) A bunch of his Confederate clones still stand, too, in town squares and courthouses across the American South, while their Union brothers, in slightly different uniforms, remain stationed all around the North.

As recent events have reminded us, many of the South’s Confederate monuments went up not immediately after the war, but half a century later, in the first two decades of the 1900s. During this time, organizations like the United Daughters of the Confederacy were looking to reframe and glorify the Confederate cause, and in many states, the descendants of slaves had been stripped of the right to vote, which impeded their ability to effectively voice opposition.

Today, historians argue that the rush to erect Civil War statues, especially in former Confederate states, was part of that project. “It is hardly coincidence that the cluttering of the state’s landscape with Confederate monuments coincided with two major national cultural projects: first, the “reconciliation” of the North and the South, and second, the imposition of Jim Crow [racial segregation laws] and white supremacy in the South,” writes historian W. Fitzhugh Brundage, at Vox. By memorializing the dead in this particular way, Brundage argues, those who put up statues sought to reframe the story of the war, “making the Confederate cause virtually sacred.” In the spirit of peacemaking, Northerners went along with it, and put up their own statues, too. These goals may have been political, but the means were material: they almost certainly couldn’t have gotten so many statues up, in the North or South, without white bronze…

The role of white bronze– which is neither white nor bronze– in the “memorializing” of the Civil War: “Those Mass-Produced Civil War Statues Were Meant to Stand Forever.”

* Stephen Hawking

###

As we remove those eyesores to the museum (or the scrap heap), we might recall that it was on this date in 1715 that the reign of Louis XIV– the Sun King– ended with his death; at 72 years and 110 days, it was the longest recorded reign of any monarch of a sovereign country in European history.  A centralizer of power, he used his ever-grander palace at Versailles (formerly his father’s hunting lodge) to lure, then lull the nobles around him; the system of absolute monarchical rule that he established survived to the French Revolution.

Louis was a patron of the arts (he restored and expanded the Louvre)– and a vigorous promoter of his own image.  With the help of his Minister of Finance, Jean-Baptiste Colbert, he had himself portrayed heroically in painting, sculpture, tapestry, theatre, dance, music, and in the almanacs that diffused royal propaganda to the population at large.  Beyond the 300+ formal portraits he had done, he commissioned over 20 statues of himself to stand in Paris and the Provincial capitals as physical manifestations of his rule.

 source

 

 

Written by LW

September 1, 2017 at 1:01 am

<span>%d</span> bloggers like this: