|
|
|
|||||||||||||||||||||||||||||||||
| < REPLICATION: example | ||||||||||||||||||||||||||||||||||
THE RAPE OF PROSERPINA |
||||||||||||||||||||||||||||||||||
| (Attr. Vincenzo de' Rossi, c.1565) | ||||||||||||||||||||||||||||||||||
| location: | Cliveden House, Berkshire, and the Victoria and Albert Museum, London | |||||||||||||||||||||||||||||||||
| client: | The National Trust, and the Victoria and Albert Museum | |||||||||||||||||||||||||||||||||
![]() |
![]() |
|||||||||||||||||||||||||||||||||
The
original sculpture, before conservation
|
The replica, eight years after installation | |||||||||||||||||||||||||||||||||
This
important, over life-size, Renaissance bronze, the only example
of this size in this country, was brought from Italy to England
by the 1st Viscount Astor in 1896
and placed
on the parterre at the end of the formal garden at Cliveden. In the
early 1990s, the National Trust took the decision to remove the bronze
from its outdoor location due to its extreme rarity and consequent
high value, and replace it with a bronze replica. We were commmissioned
jointly by the Victoria and Albert Museum and the National Trust
to remove the sculpture to the studio for conservation, and at
the
same time
mould and cast
a replica in bronze for the parterre at Cliveden. We made a silicon
rubber mould with a bolted, fibreglass casing and cast the new
sculpture in bronze using the lost wax method. A curatorial decision
was
made to also replicate the advanced natural patina
of the original
sculpture as it had appeared before removal from Cliveden, though
without the disfiguring black marks which can make the sculptural
form difficult to read. The natural patina was also retained
on the original sculpture, which is now displayed in the Victoria
and Albert Museum's sculpture gallery. |
||||||||||||||||||||||||||||||||||
![]() |
![]() |
|||||||||||||||||||||||||||||||||
| X-Rays were taken of various points of the original sculpture to gain knowledge of the modelling, construction and casting methods used. | The mould-making began with the building of clay boundaries for each piece of the mould. | |||||||||||||||||||||||||||||||||
![]() |
![]() |
|||||||||||||||||||||||||||||||||
| A piece mould was made, comprising of eighteen sections constructed from silicon rubber and a fibreglass mould jacket. | A detail of the mould showing the clay walls, white silicon rubber and the untrimmed fibreglass on the back of the sculpture. | |||||||||||||||||||||||||||||||||
![]() |
![]() |
|||||||||||||||||||||||||||||||||
| The silicon rubber moulding material being applied. | The rigid fibreglass casing being built over the silicon rubber. | |||||||||||||||||||||||||||||||||
![]() |
![]() |
|||||||||||||||||||||||||||||||||
| The completed mould. Each section is bolted together. | Each piece was then carefully removed and taken to the foundry for casting by the lost wax process. | |||||||||||||||||||||||||||||||||
![]() |
![]() |
|||||||||||||||||||||||||||||||||
| Following completion of the conservation, the original sculpture was installed in the Victoria and Albert Museum sculpture galleries | We designed and fabricated a structural steel base, counterbalanced to provide absolute stability. We then clad the structural base with a timber plinth. | |||||||||||||||||||||||||||||||||
![]() |
![]() |
|||||||||||||||||||||||||||||||||
| The original sculpture, now on permanent loan to the Victoria and Albert Museum. | The finished replica, at Cliveden House, Berkshire. | |||||||||||||||||||||||||||||||||
| Back to top | ||||||||||||||||||||||||||||||||||