2015

Michelangelo’s Moses is depicted with horns on his head. He, like so many artists before him, were labouring under a misconception. This is believed to be because of the mistranslation of the Hebrew Scriptures into Latin by St Jerome. Moses is actually described as having "rays of the skin of his face", which Jerome in the Vulgate had translated as "horns". The mistake in translation is possible because the word "keren" in the Hebrew language can mean either "radiated (light)" or "grew horns".

Michelangelo’s David was the museum’s first major cast of Italian figure sculpture. It was acquired in 1857 when it was sent as a gift from the Grand Duke of Tuscany to Queen Victoria — apparently in an attempt to placate English anger at his refusal to allow the National Gallery to export Domenico Ghirlandaio’s Madonna Enthroned. The gift was entirely unexpected and the Queen promptly gave the cast to the then South Kensington Museum which is now the Victoria and Albert Museum. In the reign of Queen Victoria, the display of male nudity was contentious and the Queen herself was said to find it shocking. The museum commissioned a suitably proportioned fig leaf that was kept in readiness in case of a visit by the Queen or other female dignitary: the fig leaf was then hung on the figure using a pair of hooks. Today, the fig leaf is no longer used, but it is displayed in a case at the back of the cast’s plinth.

The Cast Courts (originally called the Architectural Courts) of the Victoria and Albert Museum in London, England, comprise two large halls. Unusually for a museum, the Cast Courts house a collection not of originals, but copies. Here are to be found reproductions of some of the most famous sculptures in the world. Most of the copies were made in the 19th century and in many cases they have better resisted the ravages of time, 20th-century pollution and over-zealous conservation than the originals. The practice of reproducing famous sculptures in plaster dates back to the sixteenth century when Leone Leoni assembled a collection of casts in Milan, he collected: "as many of the most celebrated works … carved and cast, antique and modern as he was able to obtain anywhere". Such private collections, however, remained modest and uncommon until the 18th century. By 1800 there were extensive collections in Berlin, Paris, Vienna and elsewhere. Early in the 19th century there was growing interest in medieval art, and, perhaps as an expression of national pride, casts were made of outstanding national monuments particularly in France and Germany. In Britain, from 1841 onwards, a collection of art from all periods and countries was being assembled by the Government School of Design. In 1852 this collection was taken over by the Museum of Manufactures when it was established at Marlborough House. By 1858 the museum had moved to its current location in South Kensington and the casts were displayed in various corridors and galleries. In 1862, the collection was inflated by the acquisition of over 2,000 casts of decorative wood carving that had been used as examples for the craftsmen working on the new Westminster Palace. By around 1860 the previously haphazard means of acquisition was supplemented by a more systematic approach: a list was drawn up of copies it was thought desirable to acquire and soon plans were drawn up to house them. As with the acquisition of original sculptures, this work was driven primarily by Henry Cole and John Charles Robinson. In contrast to other national collections, the collection at the V&A was conceived as being international in scope. Casts were acquired throughout the 1860s and 70s. Many of the casts were commissioned by the Museum or purchased from French or German firms. Other casts were obtained through exchange with other museums. In 1864 plans for an international exchange of copies of ‘the finest works of art which each country possesses’ were drawn up by Henry Cole and the assistance of the Foreign Office was sought to obtain lists of major works in the possession of other European governments. This ambitious scheme culminated in 15 European princes being persuaded to sign up to the International Convention of promoting universally Reproductions of Works of Art at the Paris International Exhibition of 1867. With this agreement, the Victoria and Albert Museum came to acquire the large and diverse collection of casts that it has today. In the 1920s, discussions within the museum focused on the lack of space for display. It was suggested that the cast collection be moved to The Crystal Palace where another large collection of casts was also housed. The proposed move was rejected by the then director, Eric Maclagan which was fortunate because in 1936 Crystal Palace was destroyed by fire. Twenty three casts, mainly effigies, that escaped the inferno were transferred to the museum and were the last major additions to the cast collection.

The quotation above the doorway is from the biblical book of Proverbs 16:16