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We transported these two sculptures to our studios in London where removal of the plaster revealed them to be life size groups depicting the Rape of the Sabines, and Aeneas and Anchises, (shown below).</p> 567<p style="text-align: left;"><img src="http://holstermedia.co.uk/final/sc_leads/examples/example3/photo3.jpg" style="margin-right: 20px;"><img src="http://holstermedia.co.uk/final/sc_leads/examples/example3/photo4.jpg"></p> 568<p align="justify">The remains of early paint schemes were found on the sculpture's surface. Samples were taken for analysis, which revealed that the sculpture had received at least six paint treatments up until the early 20th century. These schemes were all of light grey/stone colours. The red colour so visible now on one of the sculptures is the remains of a coat of red iron oxide primer, applied prior to a 19th century application of stone-coloured paint.</p> 569<p style="text-align: left;"><img src="http://holstermedia.co.uk/final/sc_leads/examples/example3/photo9.jpg" style="margin-right: 20px;"><img src="http://holstermedia.co.uk/final/sc_leads/examples/example3/photo5.jpg"></p> 570<p align="justify">Several parts of the sculpture were found to be missing, or damaged beyond repair. Moulds were taken from another model of the sculpture at Wrest Park, with the owner's kind permission, and the missing pieces were cast in lead and attached to the sculpture. Damaged areas were then repaired by lead burning and a new stainless steel armature inserted to support the sculpture and the base area.</p> 571<p style="text-align: left;"><img src="http://holstermedia.co.uk/final/sc_leads/examples/example3/photo7.jpg" style="margin-right: 20px;"><img src="http://holstermedia.co.uk/final/sc_leads/examples/example3/photo6.jpg"></p> 572<p align="justify">After fine finishing the surface, the repaired areas were then temporarily retouched with paint to match the remaining red coloured primer on the surface. A new piece of stone was carved to support the lead base area of the sculpture. Both sculpture groups were then transported to the Victoria and Albert Museum and installed in the Sculpture Galleries for temporary exhibition, before returning to the studio for the final stages of the conservation.  <em>Photo below right, courtesy Richard Holttum</em></p> 573<p style="text-align: left;"><img src="http://holstermedia.co.uk/final/sc_leads/examples/example3/photo10.jpg" style="margin-right: 20px;"><img src="http://holstermedia.co.uk/final/sc_leads/examples/example3/photo8.jpg"><em> </em></p> 574<p align="justify">Both the Rape of the Sabines, and Aeneas and Anchises were returned to the Palace of Queluz and placed in temporary storage.</p> 575<p style="text-align: left;"><img src="http://holstermedia.co.uk/final/sc_leads/examples/example3/photo11.jpg" style="margin-right: 20px;"><img src="http://holstermedia.co.uk/final/sc_leads/examples/example3/photo12.jpg"></p> 576<p align="justify">Before re-siting in the Palace grounds, discussions took place with the Palace of Queluz and the World Monuments Fund, Portugal and decisions were made regarding the surface treatment that the sculpture should receive to try to protect it from the disfigurement of lead tetroxide formation. The sculpture was then surface treated with a lead patination oil and areas where repairs had been carried out were selectively painted to match the original surface colour, using matt casein based paints. A new concrete plinth was constructed for the sculpture near the 'canal' in the Palace gardens. The sculpture group on its limestone base stone was securely fixed to the plinth and the joint between the base stone and the plinth capping stone was then sealed with lime mortar.</p> 577<p style="text-align: left;"><img src="http://holstermedia.co.uk/final/sc_leads/examples/example3/photo13.jpg"></p> 578<p>This sculpture is thought to be based on the marble by Pierre le Pautre (1659-1
578744), now in the garden of the Tuileries but originally sited at Marly. Â <a href="http://collections.vam.ac.uk/item/O228855/aeneas-and-anchises-aeneas-and-anchises-le-pautre-pierre/" target="_blank" title="Link to VAM Collections">A terracotta model for Le Pautre's marble is held in the V&A</a> .</p> 579<p align="justify"><em><br>Aeneas was the son of Anchises and Venus. He was a cousin of King Priam of Troy, and was the leader of Troy's Dardanian allies during the Trojan War. After the fall of Troy, he led a band of Trojan refugees to Italy and became the founder of Roman culture (although not of the city of Rome itself). He was the mythical progenitor of the Julian genes through his son Ascanius, or "Iulus," and Virgil made him the hero of his epic, the Aeneid. </em></p> 580<p align="justify"><em>In the Trojan War, Aeneas was one of the most respected of the Trojan heroes, perhaps second only to Hector. He engaged in abortive single combat with the Greek heroes Diomedes, Idomeneus, and Achilles; twice he was rescued through the intervention of gods. When Troy was sacked by the Greeks, Aeneas fought on until he was ordered by the gods to flee. He finally left the city, carrying his father and the household gods on his shoulders; his wife Creusa was lost in the confusion, but his son Ascanius escaped with him. (This sculpture group depicts this episode). </em></p> 581<p align="justify"><em>Aeneas and the Trojan remnant then wandered across the Mediterranean, hounded by the enmity of Juno. In one of the most famous episodes of the Aeneid, they were cast ashore near the North African city of Carthage, where they were hospitably received by Dido, the city's founder and queen. There ensued a love affair between Dido and Aeneas, which threatened to distract Aeneas from his destiny in Italy. Mercury was sent to order Aeneas to depart and Aeneas, forced to choose between love and duty, reluctantly sailed away. Dido, mad with grief, committed suicide. When Aeneas later encountered her shade on a trip to the underworld, she turned away from him, still refusing to forgive his desertion of her. </em></p> 582<p align="justify"><em>In Italy, Aeneas allied himself with King Latinus, and was betrothed to Latinus' daughter, Lavinia. Lavinia's former suitor, Turnus, goaded by jealousy and the machinations of Juno, declared war against the intruder, and a period of bloody fighting (the Italian wars) followed. Aeneas was victorious, eventually killing Turnus in single combat, and went on to found the city of Lavinium. At the end of his life, Aeneas was deified at the request of his mother, Venus, and became the god Indiges.</em></p> 583 </div> 584 585 586 587 </div> <!-- /.span4 --> 588 <div style="width:250px;float:right;margin-top:75px"> 589 <h2 class="title">Featured examples</h2> 590 591 592 <div class="example_thumbnail"> 593 <span class="helper"></span> 594 <a href="/collections/featured/products/the-palace-of-queluz-aeneas-and-anchises" class="product-link" title="THE PALACE OF QUELUZ - AENEAS AND ANCHISES"> 595 <img src="//rupertharris.com/cdn/shop/products/photo1_2243ff07-c08b-4785-a6ff-1aaee37427d4_small.jpeg?v=1391704489" class="product-photo" alt="THE PALACE OF QUELUZ - AENEAS AND ANCHISES" /> 596 </a> 597 </div> 598 599 600 <div class="example_thumbnail"> 601 <span class="helper"></span> 602 <a href="/collections/featured/products/a-venetian-bucentaur-lantern" class="product-link" title="A VENETIAN BUCENTAUR LANTERN"> 603 <img src="//rupertharris.com/cdn/shop/products/File0904_small.jpg?v=1404300470" class="product-photo" alt="A VENETIAN BUCENTAUR LANTERN" /> 604 </a> 605 </div> 606 607 608 <div class="example_thumbnail"> 609 <span class="helper"></span> 610 <a href="/collections/featured/products/cotehele-firearms" class="product-link" title="COTEHELE FIREARMS"> 611 <img src="//rupertharris.com/cdn/shop/products/DSC00022_small.jpg?v=1404301068" class="product-photo" alt="COTEHELE FIREARMS" /> 612 </a> 613 </div> 614 615 616 <div class="example_thumbnail">
617 <span class="helper"></span> 618 <a href="/collections/featured/products/borghese-gladiator" class="product-link" title="REPLICATION OF THE BORGHESE GLADIATOR"> 619 <img src="//rupertharris.com/cdn/shop/products/photo2_6c56f0bc-be3d-4944-8362-a2b18655e8f0_small.jpeg?v=1392649900" class="product-photo" alt="REPLICATION OF THE BORGHESE GLADIATOR" /> 620 </a> 621 </div> 622 623 624 <div class="example_thumbnail"> 625 <span class="helper"></span> 626 <a href="/collections/featured/products/doccia-porcelain-group-of-judith-holding-the-head-of-holofernes" class="product-link" title="DOCCIA PORCELAIN GROUP OF JUDITH HOLDING THE HEAD OF HOLOFERNES"> 627 <img src="//rupertharris.com/cdn/shop/products/photo1_13d411d8-6acc-43db-a619-c1f1d78181e7_small.jpeg?v=1391791819" class="product-photo" alt="DOCCIA PORCELAIN GROUP OF JUDITH HOLDING THE HEAD OF HOLOFERNES" /> 628 </a> 629 </div> 630 631 632 <div class="example_thumbnail"> 633 <span class="helper"></span> 634 <a href="/collections/featured/products/important-interior-lead-sculpture-of-andromeda" class="product-link" title="IMPORTANT INTERIOR LEAD SCULPTURE OF ANDROMEDA"> 635 <img src="//rupertharris.com/cdn/shop/products/photo13_small.jpeg?v=1391705897" class="product-photo" alt="IMPORTANT INTERIOR LEAD SCULPTURE OF ANDROMEDA" /> 636 </a> 637 </div> 638 639 640 <div class="example_thumbnail"> 641 <span class="helper"></span> 642 <a href="/collections/featured/products/original-sculptor-s-model-of-sir-francis-drake" class="product-link" title="ORIGINAL SCULPTOR'S PLASTER MODEL"> 643 <img src="//rupertharris.com/cdn/shop/products/photo12_06428371-95d1-4ccb-a327-3f80e4959ecf_small.jpeg?v=1392137344" class="product-photo" alt="ORIGINAL SCULPTOR'S PLASTER MODEL" /> 644 </a> 645 </div> 646 647 648 <div class="example_thumbnail"> 649 <span class="helper"></span> 650 <a href="/collections/featured/products/statue-of-oliver-cromwell" class="product-link" title="STATUE OF OLIVER CROMWELL"> 651 <img src="//rupertharris.com/cdn/shop/products/photo11_small.jpeg?v=1391698954" class="product-photo" alt="STATUE OF OLIVER CROMWELL" /> 652 </a> 653 </div> 654 655 656 <div class="example_thumbnail"> 657 <span class="helper"></span> 658 <a href="/collections/featured/products/the-rezzonico-clock" class="product-link" title="THE REZZONICO CLOCK"> 659 <img src="//rupertharris.com/cdn/shop/products/photo8_9dfc24af-b249-4de7-9998-0e3fe12a03f1_small.jpeg?v=1391684880" class="product-photo" alt="THE REZZONICO CLOCK" /> 660 </a> 661 </div> 662 663 </div> 664 </div> <!-- /.row --> 665 666 667 668 669</div> <!-- /#product --> 670 671<div style="display:none" id="preloading"> 672 673</div> 674 675 </section> <!-- /#body --> 676 677 <footer id="footer"> 678 679 <div class="row footer-columns" style="float:left"> 680 681 682 <section class="span4 contact-us"> 683 <div style="width:800px;float:left"> 684 Studio 5c, Block A, No1 Fawe St, London, E14 6PD, United Kingdom Tel 020 7515 2020 Fax 020 7987 7994 [email protected] 685<br /><br /> 686Copyright to all material and/or works of art comprising or contained within this website is held by Rupert Harris Conservation Ltd and/or other copyright holders. It is prohibited to reproduce, modify, adapt or otherwise use any of the images or information in any manner or form without the express written permission of the copyright holder. 687<br /><br /> 688Please <a href="/pages/contact-us">contact us</a> for any website issues or queries 689</div> 690<div style="width:65px;float:right;margin-left:100px"> 691 <img src="//rupertharris.com/cdn/shop/t/2/assets/logo4.png?v=83226294579644135591432477157" alt="Logo" /> 692</div> 693 </section> <!-- /.span4 --> 694 695 696 697 </div> <!-- /.row.footer-columns --> 698 <div class="row footer-columns" style="float:right"> 699 </div> 700 701 702 703 </footer> <!-- /#footer --> 704 </div> <!-- /.wrapper --> 705 706 <div class="wrapper payment-methods"> 707 <div class="row"> 708 709 <div class="span6"> 710 <ul class="credit-cards clearfix"> 711 712 713 714 715 716 717 718 719 720 721 </ul> <!-- /.credit-cards --> 722 </div> <!-- /.span6 --> 723 </div> <!-- /.row --> 724 </div> <!-- /.wrapper --> 725 726
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733<script type="text/javascript"> 734 735 var selectCallback = function(variant, selector) { 736 if (variant) { 737 if (variant.available) { 738 jQuery('#add-item-to-cart').removeAttr('disabled').removeClass('disabled').val('Add to cart'); 739 } 740 else { 741 jQuery('#add-item-to-cart').val('Sold Out').addClass('disabled').attr('disabled', 'disabled'); 742 } 743 744 if(variant.price < variant.compare_at_price){ 745 jQuery('#price-preview').html(Shopify.formatMoney(variant.price, "£{{amount}}") + " <del>" + Shopify.formatMoney(variant.compare_at_price, "£{{amount}}") + "</del>"); 746 } else { 747 jQuery('#price-preview').html(Shopify.formatMoney(variant.price, "£{{amount}}")); 748 } 749 750 } else { 751 jQuery('#add-item-to-cart').val('Unavailable').addClass('disabled').attr('disabled', 'disabled'); 752 } 753 }; 754 755 756 757 jQuery(document).ready(function($){ 758 759 new Shopify.OptionSelectors("product-select", { product: {"id":233708069,"title":"THE PALACE OF QUELUZ - AENEAS AND ANCHISES","handle":"the-palace-of-queluz-aeneas-and-anchises","description":"\u003cp style=\"text-align: left;\"\u003e\u003cimg src=\"http:\/\/holstermedia.co.uk\/final\/sc_leads\/examples\/example3\/photo1.jpg\" style=\"margin-right: 20px;\"\u003e\u003cimg src=\"http:\/\/holstermedia.co.uk\/final\/sc_leads\/examples\/example3\/photo2.jpg\"\u003e\u003c\/p\u003e\n\u003cp align=\"justify\"\u003eTwo of the sculptures held in store at the Palace of Queluz had at some time in the past been completely covered in plaster and supporting wooden battens. We transported these two sculptures to our studios in London where removal of the plaster revealed them to be life size groups depicting the Rape of the Sabines, and Aeneas and Anchises, (shown below).\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cimg src=\"http:\/\/holstermedia.co.uk\/final\/sc_leads\/examples\/example3\/photo3.jpg\" style=\"margin-right: 20px;\"\u003e\u003cimg src=\"http:\/\/holstermedia.co.uk\/final\/sc_leads\/examples\/example3\/photo4.jpg\"\u003e\u003c\/p\u003e\n\u003cp align=\"justify\"\u003eThe remains of early paint schemes were found on the sculpture's surface. Samples were taken for analysis, which revealed that the sculpture had received at least six paint treatments up until the early 20th century. These schemes were all of light grey\/stone colours. The red colour so visible now on one of the sculptures is the remains of a coat of red iron oxide primer, applied prior to a 19th century application of stone-coloured paint.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cimg src=\"http:\/\/holstermedia.co.uk\/final\/sc_leads\/examples\/example3\/photo9.jpg\" style=\"margin-right: 20px;\"\u003e\u003cimg src=\"http:\/\/holstermedia.co.uk\/final\/sc_leads\/examples\/example3\/photo5.jpg\"\u003e\u003c\/p\u003e\n\u003cp align=\"justify\"\u003eSeveral parts of the sculpture were found to be missing, or damaged beyond repair. Moulds were taken from another model of the sculpture at Wrest Park, with the owner's kind permission, and the missing pieces were cast in lead and attached to the sculpture. Damaged areas were then repaired by lead burning and a new stainless steel armature inserted to support the sculpture and the base area.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cimg src=\"http:\/\/holstermedia.co.uk\/final\/sc_leads\/examples\/example3\/photo7.jpg\" style=\"margin-right: 20px;\"\u003e\u003cimg src=\"http:\/\/holstermedia.co.uk\/final\/sc_leads\/examples\/example3\/photo6.jpg\"\u003e\u003c\/p\u003e\n\u003cp align=\"justify\"\u003eAfter fine finishing the surface, the repaired areas were then temporarily retouched with paint to match the remaining red coloured primer on the surface. A new piece of stone was carved to support the lead base area of the sculpture. Both sculpture groups were then transported to the Victoria and Albert Museum and installed in the Sculpture Galleries for temporary exhibition, before returning to the studio for the final stages of the conservation.  \u003cem\u003ePhoto below right, courtesy Richard Holttum\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cimg src=\"http:\/\/holstermedia.co.uk\/final\/sc_leads\/examples\/example3\/photo10.jpg\" style=\"margin-right: 20px;\"\u003e\u003cimg src=\"http:\/\/holstermedia.co.uk\/final\/sc_leads\/examples\/example3\/photo8.jpg\"\u003e\u003cem\u003e \u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"justify\"\u003eBoth the Rape of the Sabines, and Aeneas and Anchises were returned to the Palace of Queluz and placed in temporary storage.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cimg src=\"http:\/\/holstermedia.co.uk\/final\/sc_leads\/examples\/example3\/photo11.jpg\" style=\"margin-right: 20px;\"\u003e\u003cimg src=\"http:\/\/holstermedia.co.uk\/final\/sc_leads\/examples\/example3\/photo12.jpg\"\u003e\u003c\/p\u003e\n\u003cp align=\"justify\"\u003eBefore re-siting in the Palace grounds, discussions took place with the Palace of Queluz and the World Monuments Fund, Portugal and decisions were made regarding the surface treatment that the sculpture should receive to try to protect it from the disfigurement of lead tetroxide formation. The sculpture was then surface treated with a lead patination oil and areas where repairs had been carried out were selectively painted to match the original surface colour, using matt casein based paints. A new concrete plinth was constructed for the sculpture near the 'canal' in the Palace gardens. The sculpture group on its limestone base stone was securely fixed to the plinth and the joint between the base stone and the plinth capping stone was then sealed with lime mortar.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cimg src=\"http:\/\/holstermedia.co.uk\/final\/sc_leads\/examples\/example3\/photo13.jpg\"\u003e\u003c\/p\u003e\n\u003cp\u003eThis sculpture is thought to be based on the marble by Pierre le Pautre (1659-1
759744), now in the garden of the Tuileries but originally sited at Marly. Â \u003ca href=\"http:\/\/collections.vam.ac.uk\/item\/O228855\/aeneas-and-anchises-aeneas-and-anchises-le-pautre-pierre\/\" target=\"_blank\" title=\"Link to VAM Collections\"\u003eA terracotta model for Le Pautre's marble is held in the V\u0026amp;A\u003c\/a\u003e .\u003c\/p\u003e\n\u003cp align=\"justify\"\u003e\u003cem\u003e\u003cbr\u003eAeneas was the son of Anchises and Venus. He was a cousin of King Priam of Troy, and was the leader of Troy's Dardanian allies during the Trojan War. After the fall of Troy, he led a band of Trojan refugees to Italy and became the founder of Roman culture (although not of the city of Rome itself). He was the mythical progenitor of the Julian genes through his son Ascanius, or \"Iulus,\" and Virgil made him the hero of his epic, the Aeneid. \u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"justify\"\u003e\u003cem\u003eIn the Trojan War, Aeneas was one of the most respected of the Trojan heroes, perhaps second only to Hector. He engaged in abortive single combat with the Greek heroes Diomedes, Idomeneus, and Achilles; twice he was rescued through the intervention of gods. When Troy was sacked by the Greeks, Aeneas fought on until he was ordered by the gods to flee. He finally left the city, carrying his father and the household gods on his shoulders; his wife Creusa was lost in the confusion, but his son Ascanius escaped with him. (This sculpture group depicts this episode). \u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"justify\"\u003e\u003cem\u003eAeneas and the Trojan remnant then wandered across the Mediterranean, hounded by the enmity of Juno. In one of the most famous episodes of the Aeneid, they were cast ashore near the North African city of Carthage, where they were hospitably received by Dido, the city's founder and queen. There ensued a love affair between Dido and Aeneas, which threatened to distract Aeneas from his destiny in Italy. Mercury was sent to order Aeneas to depart and Aeneas, forced to choose between love and duty, reluctantly sailed away. Dido, mad with grief, committed suicide. When Aeneas later encountered her shade on a trip to the underworld, she turned away from him, still refusing to forgive his desertion of her. \u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"justify\"\u003e\u003cem\u003eIn Italy, Aeneas allied himself with King Latinus, and was betrothed to Latinus' daughter, Lavinia. Lavinia's former suitor, Turnus, goaded by jealousy and the machinations of Juno, declared war against the intruder, and a period of bloody fighting (the Italian wars) followed. Aeneas was victorious, eventually killing Turnus in single combat, and went on to found the city of Lavinium. At the end of his life, Aeneas was deified at the request of his mother, Venus, and became the god Indiges.\u003c\/em\u003e\u003c\/p\u003e","published_at":"2014-02-06T16:21:00+00:00","created_at":"2014-02-06T16:21:11+00:00","vendor":"The World Monuments Fund","type":"Near Lisbon, Portugal","tags":["John Cheere (18th Century)"],"price":0,"price_min":0,"price_max":0,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":528527037,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"THE PALACE OF QUELUZ - AENEAS AND ANCHISES","public_title":null,"options":["Default Title"],"price":0,"weight":0,"compare_at_price":null,"inventory_quantity":1,"inventory_management":null,"inventory_policy":"deny","barcode":null,"requires_selling_plan":false,"selling_plan_allocations":[],"quantity_rule":{"min":1,"max":null,"increment":1}}],"images":["\/\/rupertharris.com\/cdn\/shop\/products\/photo1_2243ff07-c08b-4785-a6ff-1aaee37427d4.jpeg?v=1391704489"],"featured_image":"\/\/rupertharris.com\/cdn\/shop\/products\/photo1_2243ff07-c08b-4785-a6ff-1aaee37427d4.jpeg?v=1391704489","options":["Title"],"media":[{"alt":null,"id":9068019778,"position":1,"preview_image":{"aspect_ratio":0.75,"he
759ight":300,"width":225,"src":"\/\/rupertharris.com\/cdn\/shop\/products\/photo1_2243ff07-c08b-4785-a6ff-1aaee37427d4.jpeg?v=1391704489"},"aspect_ratio":0.75,"height":300,"media_type":"image","src":"\/\/rupertharris.com\/cdn\/shop\/products\/photo1_2243ff07-c08b-4785-a6ff-1aaee37427d4.jpeg?v=1391704489","width":225}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp style=\"text-align: left;\"\u003e\u003cimg src=\"http:\/\/holstermedia.co.uk\/final\/sc_leads\/examples\/example3\/photo1.jpg\" style=\"margin-right: 20px;\"\u003e\u003cimg src=\"http:\/\/holstermedia.co.uk\/final\/sc_leads\/examples\/example3\/photo2.jpg\"\u003e\u003c\/p\u003e\n\u003cp align=\"justify\"\u003eTwo of the sculptures held in store at the Palace of Queluz had at some time in the past been completely covered in plaster and supporting wooden battens. We transported these two sculptures to our studios in London where removal of the plaster revealed them to be life size groups depicting the Rape of the Sabines, and Aeneas and Anchises, (shown below).\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cimg src=\"http:\/\/holstermedia.co.uk\/final\/sc_leads\/examples\/example3\/photo3.jpg\" style=\"margin-right: 20px;\"\u003e\u003cimg src=\"http:\/\/holstermedia.co.uk\/final\/sc_leads\/examples\/example3\/photo4.jpg\"\u003e\u003c\/p\u003e\n\u003cp align=\"justify\"\u003eThe remains of early paint schemes were found on the sculpture's surface. Samples were taken for analysis, which revealed that the sculpture had received at least six paint treatments up until the early 20th century. These schemes were all of light grey\/stone colours. The red colour so visible now on one of the sculptures is the remains of a coat of red iron oxide primer, applied prior to a 19th century application of stone-coloured paint.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cimg src=\"http:\/\/holstermedia.co.uk\/final\/sc_leads\/examples\/example3\/photo9.jpg\" style=\"margin-right: 20px;\"\u003e\u003cimg src=\"http:\/\/holstermedia.co.uk\/final\/sc_leads\/examples\/example3\/photo5.jpg\"\u003e\u003c\/p\u003e\n\u003cp align=\"justify\"\u003eSeveral parts of the sculpture were found to be missing, or damaged beyond repair. Moulds were taken from another model of the sculpture at Wrest Park, with the owner's kind permission, and the missing pieces were cast in lead and attached to the sculpture. Damaged areas were then repaired by lead burning and a new stainless steel armature inserted to support the sculpture and the base area.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cimg src=\"http:\/\/holstermedia.co.uk\/final\/sc_leads\/examples\/example3\/photo7.jpg\" style=\"margin-right: 20px;\"\u003e\u003cimg src=\"http:\/\/holstermedia.co.uk\/final\/sc_leads\/examples\/example3\/photo6.jpg\"\u003e\u003c\/p\u003e\n\u003cp align=\"justify\"\u003eAfter fine finishing the surface, the repaired areas were then temporarily retouched with paint to match the remaining red coloured primer on the surface. A new piece of stone was carved to support the lead base area of the sculpture. Both sculpture groups were then transported to the Victoria and Albert Museum and installed in the Sculpture Galleries for temporary exhibition, before returning to the studio for the final stages of the conservation.  \u003cem\u003ePhoto below right, courtesy Richard Holttum\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cimg src=\"http:\/\/holstermedia.co.uk\/final\/sc_leads\/examples\/example3\/photo10.jpg\" style=\"margin-right: 20px;\"\u003e\u003cimg src=\"http:\/\/holstermedia.co.uk\/final\/sc_leads\/examples\/example3\/photo8.jpg\"\u003e\u003cem\u003e \u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"justify\"\u003eBoth the Rape of the Sabines, and Aeneas and Anchises were returned to the Palace of Queluz and placed in temporary storage.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cimg src=\"http:\/\/holstermedia.co.uk\/final\/sc_leads\/examples\/example3\/photo11.jpg\" style=\"margin-right: 20px;\"\u003e\u003cimg src=\"http:\/\/holstermedia.co.uk\/final\/sc_leads\/examples\/example3\/photo12.jpg\"\u003e\u003c\/p\u003e\n\u003cp align=\"justify\"\u003eBefore re-siting in the Palace grounds, discussions took place with the Palace of Queluz and the World Monuments Fund, Portugal and decisions were made regarding the surface treatment that the sculpture should receive to try to protect it from the disfigurement of lead tetroxide formation. The sculpture was then surface treated with a lead patination oil and areas where repairs had been carried out were selectively painted to match the original surface colour, using matt casein based paints. A new concrete plinth was constructed for the sculpture near the 'canal' in the Palace gardens. The sculpture group on its limestone base stone was securely fixed to the plinth and the joint between the base stone and the plinth capping stone was then sealed with lime mortar.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cimg src=\"http:\/\/holstermedia.co.uk\/final\/sc_leads\/examples\/example3\/photo13.jpg\"\u003e\u003c\/p\u003e\n\u003cp\u003eThis sculpture is thought to be based on the marble by Pierre le Pautre (1659-1
759744), now in the garden of the Tuileries but originally sited at Marly. Â \u003ca href=\"http:\/\/collections.vam.ac.uk\/item\/O228855\/aeneas-and-anchises-aeneas-and-anchises-le-pautre-pierre\/\" target=\"_blank\" title=\"Link to VAM Collections\"\u003eA terracotta model for Le Pautre's marble is held in the V\u0026amp;A\u003c\/a\u003e .\u003c\/p\u003e\n\u003cp align=\"justify\"\u003e\u003cem\u003e\u003cbr\u003eAeneas was the son of Anchises and Venus. He was a cousin of King Priam of Troy, and was the leader of Troy's Dardanian allies during the Trojan War. After the fall of Troy, he led a band of Trojan refugees to Italy and became the founder of Roman culture (although not of the city of Rome itself). He was the mythical progenitor of the Julian genes through his son Ascanius, or \"Iulus,\" and Virgil made him the hero of his epic, the Aeneid. \u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"justify\"\u003e\u003cem\u003eIn the Trojan War, Aeneas was one of the most respected of the Trojan heroes, perhaps second only to Hector. He engaged in abortive single combat with the Greek heroes Diomedes, Idomeneus, and Achilles; twice he was rescued through the intervention of gods. When Troy was sacked by the Greeks, Aeneas fought on until he was ordered by the gods to flee. He finally left the city, carrying his father and the household gods on his shoulders; his wife Creusa was lost in the confusion, but his son Ascanius escaped with him. (This sculpture group depicts this episode). \u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"justify\"\u003e\u003cem\u003eAeneas and the Trojan remnant then wandered across the Mediterranean, hounded by the enmity of Juno. In one of the most famous episodes of the Aeneid, they were cast ashore near the North African city of Carthage, where they were hospitably received by Dido, the city's founder and queen. There ensued a love affair between Dido and Aeneas, which threatened to distract Aeneas from his destiny in Italy. Mercury was sent to order Aeneas to depart and Aeneas, forced to choose between love and duty, reluctantly sailed away. Dido, mad with grief, committed suicide. When Aeneas later encountered her shade on a trip to the underworld, she turned away from him, still refusing to forgive his desertion of her. \u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"justify\"\u003e\u003cem\u003eIn Italy, Aeneas allied himself with King Latinus, and was betrothed to Latinus' daughter, Lavinia. Lavinia's former suitor, Turnus, goaded by jealousy and the machinations of Juno, declared war against the intruder, and a period of bloody fighting (the Italian wars) followed. Aeneas was victorious, eventually killing Turnus in single combat, and went on to found the city of Lavinium. At the end of his life, Aeneas was deified at the request of his mother, Venus, and became the god Indiges.\u003c\/em\u003e\u003c\/p\u003e"}, onVariantSelected: selectCallback }); 760 761 // Add label if only one product option and it isn't 'Title'. 762 763 764 // Auto-select first available variant on page load. 765 766 767 768 769 770 $('.single-option-selector:eq(0)').val("Default Title").trigger('change'); 771 772 773 774 775 }); 776 777 778 779 </script>
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