‘On the Formation of a National Museum of Architecture: the Architectural Museum versus the South Kensington Museum

Abstract

Architectural casts collections — the great majority of which were created in the second half of the nineteenth or the early twentieth centuries — have in recent years met with a variety of fates. While that of the Metropolitan Museum in New York has been dismantled, that of the Musée des Monuments Français in Paris has with great difficulty been rearranged to suit current tastes. Notwithstanding this limited rediscovery of architectural cast collections, they remain part of a past era in the ongoing history of architectural museums. While drawings and models have always been standard media for the representation of architecture — whether or not ever built — architectural casts seem to have become the preferred medium for architectural displays in museums during a period beginning in 1850. Indeed, until the development of photography and the democratization of foreign travel, they were the only way of collecting architectural and sculptural elements while preserving their originals in situ. Admittedly, the three-dimensional experience of full-sized architecture in the form of casts, or even of actual fragments of architecture, played a considerable part in earlier, idiosyncratic attempts to display architecture in museums, indeed as early as the late eighteenth century. Nevertheless, it was only from the mid-nineteenth century that they became the preferred medium for displaying architecture. The cult of ornament reached its climax in the years 1850–70, embodied, in the field of architecture, in the famous ‘battle of styles’ and in the doctrine of ‘progressive eclecticism’, and, in the applied arts, in attempts at reform, given a fresh impetus by the development of international exhibitions. It is not surprising, then, that the first debate about architectural cast museums should have been generated in the homeland of the Gothic Revival and of the Great Exhibition of 1851. For it was in London that this debate crystallized, specifically between the Architectural Museum founded in 1851 and the South Kensington Museum (now known as the Victoria and Albert Museum) created in 1857.

Relations and Reflections to the Eye and Understanding: Architectural Models and the Rebuilding of the Royal Exchange, 1839–44

“…6 Later studies by Margaret Richardson (1989), Tim Knox (1992 and1993) and Matthew Williams (2003) then began to use architectural models as a tool to unpick and reveal new aspects of building history and architectural practice. 7 Other scholars, including Fiona Leslie (2004), Edward Bottoms (2007) and Isabella Flour (2008), have also looked at how and why key institutions acquired models and plaster casts during the nineteenth century. 8 A notable tendency of this secondary literature has been to categorise and sort architectural models into different functional groups, for example design model, sketch model and exhibition model.…”