A bronze life-size statue of George III as a Roman Emperor. Made by John van Nost the younger, this work was commissioned in 1765 by Hugh Percy, first Duke of Northumberland who for the two previous years had served as Lord Lieutenant of Ireland. He paid van Nost 700 guineas for the work which was originally placed in the centre of the rotunda of the Royal Exchange (now City Hall) when that building, designed by Thomas Cooley, was completed in 1779. The statue was moved to one side of the space in 1864 (to make way for John Hogan’s statue of Daniel O’Connell) and then taken out altogether and put into storage in 1945. In 1988 it found a new home – in the car park of the Point Theatre on the north quays – before finally being offered on long-term loan by Dublin City Council in 1996 to the National Gallery of Ireland where it has remained ever since. The piece is significant for two reasons, the first being that other such work by van Nost, his statues of George II that once stood in both Dublin and Cork, has long since been destroyed. In addition it appears to be a true likeness of George III since the sculptor, on receiving the commission, went to London to make a model of the king from life. Readers can decide for themselves whether or not Thackeray was correct to describe the work as ‘a pert statue of George III in a Roman toga simpering and turning out his toes.’
Looking down an enfilade of rooms on the ground floor of the 1903 Milltown Wing at the National Gallery, Dublin. This portion of the building was designed by Sir Thomas Newenham Deane (following his death in 1899, its completion was overseen by his son Sir Thomas Manly Deane). A notable decorative feature is the doorcases carved in walnut by the Italian woodworker Carlo Cambi. The picture below shows the equivalent sequence of rooms on the first floor which, like much of the rest of the gallery, have been closed to the public for the past six years: once fully re-hung with pictures from the collection, they are due to reopen in mid-June.
A view of the northern end of Sackville (now O’Connell) Street as shown in William Turner de Lond’s depiction of the entry of George IV into Dublin on August 17th 1821. The king had actually landed at Howth five days earlier, on his fifty-ninth birthday and in a state of some inebriation: it may have been as a result of the latter that his ‘official’ arrival only took place when it did. The scene shows George IV, the first British monarch to visit Ireland in 130 years (and the first for much longer to come without bellicose intent), standing in his carriage to acknowledge the cheering crowds. This was not a piece of fiction: a contemporary report in The Patriot observed that ‘they never saw any manifestation of popular enthusiasm so heartfelt, as that which hailed his Majesty from, at least, 100,000 persons of all ranks and estates.’ The painting was only one among several produced to commemorate the occasion (a number of artists recognised its commercial potential) and is of interest for showing the Rotunda Hospital in the background as well as the east side of Rutland (now Parnell) Square.
It is one of a number of such works included in a recently-published book, Creating History: Stories of Ireland in Art which accompanies an exhibition of the same name currently running at the National Gallery of Ireland. While at least some of the works discussed are imaginative recreations (such as Samuel Watson’s portrayal of the 11th century Battle of Clontarf, painted in 1844, and James Barry’s Baptism of the King of Cashel by St Patrick, c.1800-1), others provide an invaluable record of how parts of this country looked in the past. Such is the case with the picture shown below, Francis Wheatley’s 1780 picture of the Irish House of Commons. For some observers the interest here would be in identifying some of the political parties included in the work. For others, however, it is especially important for showing how this chamber, designed by Sir Edward Lovett Pearce, looked before being seriously damaged by fire in 1792. Although reconstructed to a simpler design, the House of Commons was abolished eight years later and, as is well-known, when the Parliament building was subsequently bought by the Bank of Ireland, the British government insisted structural changes were made to ensure it could not revert to its original purpose. Creating History: Stories of Ireland in Art examines more than fifty works of art and includes essays by the likes of Professors Tom Dunne and Roy Foster, Róisin Kennedy and Emily Mark-Fitzgerald.
A white marble statue of Amorino commissioned in Rome from Antonio Canova in 1789 by John La Touche. Scion of Ireland’s wealthiest banking family, La Touche was then on a year-long Grand Tour through Italy, during which he was taken to Canova’s studio by the Irish painter Hugh Douglas Hamilton. There he saw two versions of the same figure, one of which is now in Anglesey Abbey, Cambridgeshire. Not long before leaving Rome and returning home, La Touche requested his own copy which was duly delivered to Dublin in the summer of 1792. It remained in the family’s possession until the last century but both artist and provenance were forgotten until the statue was rediscovered in the back garden of an English house in 1996. It was then bought by the Bank of Ireland, appropriately since John La Touche’s father David had been that institution’s first governor, and presented to the National Gallery of Ireland.
The Irish Aesthete wishes a happy Valentine’s Day to all readers.