Toni Rutherford

Chapter one lays the foundation in understanding the place and perception of modelling within the ideals of the British Government, and its need to increase the taste and skills of British manufacturers by setting up Government Schools of Design. After briefly exploring the history of the Government Schools of Design the chapter is structured following Grace Lees-Maffei's Production/Consumption/Mediation model. Each section focuses on a different branch of the model and how those networks influence or impact the curriculum of the modelling classes held at the Government Schools of Design.

The Teachers, the mediators of the knowledge. By exploring the teachers backgrounds and attitudes towards the modelling classes, we can examine how mastery, or lack of knowledge of the subject area can directly impact on the engagement of the modelling classes by students. This leads into discussion of the consumers of that knowledge.

The Students, consumers of that knowledge. Information collected on students attending the Government Schools of Design for reports to parliament allow us to explore access to the modelling classes though gender, occupations and costs. This section also discusses the expectations placed upon the students by the Government Schools of Design and how the recruitment of teaching staff from student ranks produces a self-fulfilling loop of knowledge exchange.

The Artisan, producers of examples. The last section explores the collection and production of teaching examples used within the curriculum. The collection of casts was carefully curated to elevate the taste of students but this section also explores the skills and knowledge that went into producing the plaster casts by London based Italian plaster figure making firm Brucciani and Co, to explore the often hidden influence of the artisan.

Overall, this chapter examines how different networks impact the knowledge being discussed within modelling classes held by the Government Schools of Design.

Chapter two explores learning through written resources, manuals and books on modelling published in the latter part of the nineteenth century. By exploring the written resources available and the role books played within the Government Schools of Design, further unpicking the influences and attitudes towards modelling classes by analysing the authors and audience of such books. These books will give an insight into the curriculum of a modelling class, further exploring the research question; Where did the knowledge of armature design originate and what can these written materials tell us about the evolution of modelling and plaster casting processes during the nineteenth century? By using Actor Network Theory (ANT) to elevate principles and materials to ‘actors’ used in armatures to better understand the networks involved in knowledge exchanges surrounding armatures.

Collecting and Creating Books, by placing books into the network of influence on knowledge of armature design and modelling we can gain a better understanding of where knowledge originated. The carefully curated collections of books by the Government Schools of Design created a library that was largely European in origin, which both broadened and narrowed the perspectives available to students. This section also examines who wrote English instruction books on modelling and casting in plaster, their backgrounds and connections to already established educational systems. Their intended audiences bring up questions of how modelling classes were gendered in the nineteenth century.

Modelling Figures, the role of anatomy can also be placed within the network as it becomes a key idea of how to structure an armature for modelling purposes. This chapter also examines the materials used to create armatures for modelling sculptures, their properties and placements within the armature constructions in both large and small scale sculpture.

Casting Figures, in comparison to the armatures use for modelling sculptures, those used for casting sculptures follow a different set of rules and material use. This section discusses the rules that govern the placement of the armature in a mould prior to casting, and how the placement, material choices and treatments can affect the survival of a plaster cast sculpture over time.

This chapter explores the different information available to the public, its accessiblity and intention. It discusses the details of what may have been taught to students attending the modelling classes at the Government Schools of Design.

Chapter Three, focused on the praxis of armature design in evolving the collections of the examples held by the Government Schools of Design into the South Kensington Museum, during the mid-nineteenth century. Using different case studies, this chapter explored the different practitioners and collaborations that contributed to the plaster casting field by creating large scale plaster reproductions for the Cast Courts at South Kensington Museum. Using Actor Network Theory again to explore the different influences driving the development of displaying plaster cast examples during the nineteenth century.

Monumental Plaster Reproductions on the design of the Cast Courts of South Kensington Museum, with a focus on the installation and support structures of Trajan’s Column and the role of Royal Engineers in the building and installing of the Cast Courts.

Creation and Installation of the Apprentice Pillar show a teaching and learning dynamic between London plaster cast practitioner Giovanni Franchi, and Royal Engineers based at South Kensington Museum. This section discusses the influence of the Franchi on the development of the cast courts, exploring the skills of the artisans and how that influence can be traced by exploring the examples in the Cast Courts.

Overall this chapter looks beyond the surface of the monumental cast examples found at the Victoria and Albert Museum, questioning the making and installation processes that are often hidden from public view.