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Additional sculptures relating to Napoleon Bonaparte and his family may be viewed online in the Athenaeum's Featured Collection, "Bonaparte Collection." </text>
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                <text>Alexander Hamilton (1757-1804) served as secretary and aide-de-camp to Washington during the American Revolution. After the war, he studied law and began a distinguished service in the new government.  In 1789 he became the first United States Secretary of the Treasury and was instrumental in organizing the country's finances and in establishing a national bank.  Hamilton died at the age of forty-seven from wounds suffered in a duel with his political opponent Aaron Burr.&#13;
&#13;
This plaster replica of Giuseppe Ceracchi's 1794 marble bust was made by Lanelli following Hamilton's tragic death.  Ceracchi (b.1751), the renowned Roman sculptor, visited Philadelphia in 1791 and 1794.  Here he modeled many of America's founding fathers, Washington, Jefferson, etc., in the guise of Roman emperors.  The engraving of Hamilton on the US $10 bill is based upon the Ceracchi bust.&#13;
&#13;
Banished from Italy because of his liberal political views, Ceracchi was executed in Paris in 1801 after plotting to assassinate Napoleon. &#13;
&#13;
The bust was painted in 1955.&#13;
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                <text>Plaster portrait bust of Benjamin Franklin (1706-1790) by Jean Antoine Houdon, after an original from 1778.  Benjamin Franklin, American Founding Father, writer, printer, postmaster, scientist, inventor, statesman, and diplomat, known for his wit and humor, is depicted here with shoulder-length hair and a plain suit coat, buttoned vest and simple cravat.&#13;
&#13;
French sculptor Jean Antoine Houdon was well known for portrait busts of public figures of the late 18th century.  Houdon sculpted Benjamin Franklin’s likeness during Franklin’s tenure as American minister to France from 1776 to 1785.  While only two marble versions of the bust are known to exist (one at the Philadelphia Museum of Art, the other at the Metropolitan Museum of Art), Houdon also produced plaster versions such as this one in response to the public’s fascination with the popular American statesman. &#13;
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                <text>Gift of Mr. and Mrs. Robert Trumpv</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>Charles Garnier</text>
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                <text>Jean-Baptiste Carpeaux.  Foundry mark: E. Gruet Jeune Fondeur</text>
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                <text>Cast bronze portrait bust of Charles Garnier (1825-1898).  Sculptural details such as Garnier’s unkempt curly hair and his disheveled clothing are indicative of sculptor Jean-Baptiste Carpeaux’s skill at infusing his works with spontaneity and naturalism.  &#13;
&#13;
Architect Charles Garnier won the Paris Opera commission in 1861 over a field of nearly 200 contestants.  Garnier and Carpeaux were friends, and Carpeaux executed many sculptural works for Garnier's finest building, the Opera. A version of this portrait bust greets visitors as they climb the grand stair of the Opera, and there is a third casting at the Louvre in Paris. Carpeaux was the most successful French sculptor of the mid-19th Century; he was widely recognized as the official sculptor of the Second French Empire.</text>
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                <text>Gift of Samuel J. Dornsife</text>
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&#13;
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                <text>Cast bronze portrait bust on wood base of Dr. Charles Wharton Stork (1881-1971) by his son Francis Wharton Stork. Dr. Stork was a Philadelphia-born poet, playwright, literary critic, editor, and educator.   He served on the board of directors of the Athenaeum of Philadelphia for forty-nine years, from 1919 to 1968. This portrait bust was given to the Athenaeum by the sculptor after he and his brother and sister created the Charles Wharton Stork lecture endowment at the Athenaeum.</text>
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                <text>This late 19th-century bronze statuette represents a fusilier  (infantryman) in Napoleon's army. Armed with musket and bayonet, the well-equipped soldier wears a tall bearskin hat which is fitted at the front with an eagle badge, and decorated with plume, pom poms, and braided cord. The belt which crosses over the subject's shoulders holds his sword and a cartridge box, which also bears a Napoleonic eagle. Buttoned gaiters, worn to protect the soldier on the march, cover the fusilier's shoes and reach mid thigh. The long skirt of  the subject's coat is folded back and hooked up to allow better mobility. &#13;
&#13;
Born in Italy, Luca Madrassi (fl. 1869-1914) studied at L'Ecole des Beaux-Arts in Paris. In addition to his realistic military sculpture, Madrassi was a master of the fantastic, modeling such allegorical subjects as fairies, cupids, satyrs and genies.&#13;
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            <name>Rights</name>
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              <elementText elementTextId="50174">
                <text>http://www.philaathenaeum.org/rights.html&#13;
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                <text>General George G. Meade</text>
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                <text>Marble bust  of General George G. Meade (1815-1872), executed in the classical manner with the head at a slight turn to the right. General Meade was a native Philadelphian and served as commander in chief of the Army of the Potomac during the Civil War.  &#13;
&#13;
Sculptor Joseph A Bailly (1825-1883) was born in Paris and came to the United States in 1848 and to Philadelphia in 1850.  In 1876 he became the professor of sculpture at the Pennsylvania Academy of the Fine Arts. &#13;
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                <text>Gift of Edward Swain III</text>
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                <text>http://www.philaathenaeum.org/rights.html&#13;
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                <text>Plaster portrait bust of Georges Cuvier, depicted with long sideburns, and short wavy hair forming a v-shaped widow's peak on the forehead.  Inscribed along bottom front: G. CUVIER.&#13;
&#13;
Jean Léopold Nicolas Frédéric Cuvier (1769 - 1832), known as Baron Georges Cuvier, was a French naturalist  widely admired for his research and publications on zoology and paleontology. Cuvier was a major figure in natural sciences research in the early 19th century and was instrumental in establishing the fields of comparative anatomy and paleontology through his work in comparing living animals with fossils.  He was perpetual secretary of the National Institute and as a public official was connected with public education generally.  In 1808 he was placed by Napoleon upon the Council of the Imperial University. &#13;
&#13;
The Athenaeum of Philadelphia holds books by Cuvier on the subjects of zoology, geology, and paleontology in its Rare Book Collection.</text>
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                <text>Gift of Roger W. Moss</text>
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                <text>1993.M03.01</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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                <text>http://www.philaathenaeum.org/rights.html&#13;
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                <text>Hollow plaster cast bust of English poet, historian and intellectual John Milton (1608 - 1674), best known for Paradise Lost (1667), widely considered the greatest epic poem in English.   According to the minutes of the Athenaeum (October 18, 1847), this bust was given to the Athenaeum in 1847 shortly after the new building opened. &#13;
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                <text>Plaster; painted in 1955</text>
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                <text>Gift of David Paul Brown</text>
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                <text>AP.34.01</text>
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                <text>http://www.philaathenaeum.org/rights.html&#13;
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                <text>after the original by Jean de Bologne, c. 1580</text>
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&#13;
Phrenology is based on the belief that certain delineated areas of the brain are responsible for different functions, and that an individual’s personality and character can be ascertained by studying the corresponding bumps and indentations on the person’s skull. The theory was developed by German physician Franz Joseph Gallin in the 1790s, and further advanced by his assistant Johann Gaspar Spurzheim.  Phrenology faced skepticism from the scientific community, but enjoyed immense popularity with the American public throughout the 19th century.   Today, phrenology is regarded as a pseudoscience.  </text>
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            <name>Rights</name>
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&#13;
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            <name>Identifier</name>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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                <text>Plaster portrait bust of R. Swain Gifford.  The subject gazes straight ahead toward the viewer.  Surface patina accentuates the texture of the subject’s short cropped hair and full beard.  “RS GIFFORD” is incised on the bottom front of the bust.    &#13;
&#13;
Robert Swain Gifford (1840 – 1905) was an American painter and printmaker.  He spent much of his youth in the coastal areas of Massachusetts and Connecticut, where he developed an affinity for New England land- and seascapes. In 1866, he settled in New York City, where he taught art for nearly thirty years at the Cooper Union School, and helped establish the New York Etching Club.  He won medals at the 1876 Philadelphia Centennial Exhibition and numerous other venues.   His work is represented in a number of institutions, including the Pennsylvania Academy of Fine Arts and the Smithsonian American Art Museum. &#13;
&#13;
William Rudolf O'Donovan (1844 – 1920) was a successful self-taught sculptor.  Born in Virginia, he served in the Confederate Army.  After the Civil War, he opened a studio in New York City and began his career as a well-regarded professional sculptor, producing many public monuments as well as portrait busts and bas reliefs of prominent persons, including Walt Whitman, Thomas Eakins, and George Washington.  &#13;
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                <text>Gift of Mrs. Robert S. Ross</text>
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            <name>Identifier</name>
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                <text>1992.M03.01</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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&#13;
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