This document provides information about Greek art and the lost wax process of metal casting. It discusses key Greek sculptural works from the 5th century BC made of marble and bronze. The document also examines the debate around the Elgin Marbles and whether cultural heritage is national or universal. Various Greek architectural styles (Doric, Ionic, Corinthian) are defined and the attitudes of Athenian society reflected in 5th century BC sculpture and architecture are explored.
A slideshow connected to a lecture of Greek Art available at Art History Teaching Resources (http://arthistoryteachingresources.org/), written by Alexis Culotta.
A slideshow connected to a lecture of Greek Art available at Art History Teaching Resources (http://arthistoryteachingresources.org/), written by Alexis Culotta.
Fourth module for GNED 1201 (Aesthetic Experience and Ideas). This one covers Greek art and culture during the archaic and classical time periods (roughly 700 - 400 BCE).
This course is a required general education course for all first-year students at Mount Royal University in Calgary, Canada. My version of the course is structured as a kind of Art History and Culture course. Some of the content overlaps with my other Gen Ed course.
Fourth module for GNED 1201 (Aesthetic Experience and Ideas). This one covers Greek art and culture during the archaic and classical time periods (roughly 700 - 400 BCE).
This course is a required general education course for all first-year students at Mount Royal University in Calgary, Canada. My version of the course is structured as a kind of Art History and Culture course. Some of the content overlaps with my other Gen Ed course.
Possibly the first wheeled walking aid (revised) by keith armstrongKeith Armstrong
A review of the third known representation of a three wheeled mobility aid, the first with a practical application. This paper is to encourage discussion on the British Museum item GR 1996. 7-12.2 It discusses the representation, gender, age of object, physical impairment, walking aids, fashion, hairstyle and general purpose of the model in the context of the evolution of three wheeled transport history. Revised version contains minor typos corrected and some additional information.
State of ICS and IoT Cyber Threat Landscape Report 2024 previewPrayukth K V
The IoT and OT threat landscape report has been prepared by the Threat Research Team at Sectrio using data from Sectrio, cyber threat intelligence farming facilities spread across over 85 cities around the world. In addition, Sectrio also runs AI-based advanced threat and payload engagement facilities that serve as sinks to attract and engage sophisticated threat actors, and newer malware including new variants and latent threats that are at an earlier stage of development.
The latest edition of the OT/ICS and IoT security Threat Landscape Report 2024 also covers:
State of global ICS asset and network exposure
Sectoral targets and attacks as well as the cost of ransom
Global APT activity, AI usage, actor and tactic profiles, and implications
Rise in volumes of AI-powered cyberattacks
Major cyber events in 2024
Malware and malicious payload trends
Cyberattack types and targets
Vulnerability exploit attempts on CVEs
Attacks on counties – USA
Expansion of bot farms – how, where, and why
In-depth analysis of the cyber threat landscape across North America, South America, Europe, APAC, and the Middle East
Why are attacks on smart factories rising?
Cyber risk predictions
Axis of attacks – Europe
Systemic attacks in the Middle East
Download the full report from here:
https://sectrio.com/resources/ot-threat-landscape-reports/sectrio-releases-ot-ics-and-iot-security-threat-landscape-report-2024/
Elevating Tactical DDD Patterns Through Object CalisthenicsDorra BARTAGUIZ
After immersing yourself in the blue book and its red counterpart, attending DDD-focused conferences, and applying tactical patterns, you're left with a crucial question: How do I ensure my design is effective? Tactical patterns within Domain-Driven Design (DDD) serve as guiding principles for creating clear and manageable domain models. However, achieving success with these patterns requires additional guidance. Interestingly, we've observed that a set of constraints initially designed for training purposes remarkably aligns with effective pattern implementation, offering a more ‘mechanical’ approach. Let's explore together how Object Calisthenics can elevate the design of your tactical DDD patterns, offering concrete help for those venturing into DDD for the first time!
Connector Corner: Automate dynamic content and events by pushing a buttonDianaGray10
Here is something new! In our next Connector Corner webinar, we will demonstrate how you can use a single workflow to:
Create a campaign using Mailchimp with merge tags/fields
Send an interactive Slack channel message (using buttons)
Have the message received by managers and peers along with a test email for review
But there’s more:
In a second workflow supporting the same use case, you’ll see:
Your campaign sent to target colleagues for approval
If the “Approve” button is clicked, a Jira/Zendesk ticket is created for the marketing design team
But—if the “Reject” button is pushed, colleagues will be alerted via Slack message
Join us to learn more about this new, human-in-the-loop capability, brought to you by Integration Service connectors.
And...
Speakers:
Akshay Agnihotri, Product Manager
Charlie Greenberg, Host
Essentials of Automations: Optimizing FME Workflows with ParametersSafe Software
Are you looking to streamline your workflows and boost your projects’ efficiency? Do you find yourself searching for ways to add flexibility and control over your FME workflows? If so, you’re in the right place.
Join us for an insightful dive into the world of FME parameters, a critical element in optimizing workflow efficiency. This webinar marks the beginning of our three-part “Essentials of Automation” series. This first webinar is designed to equip you with the knowledge and skills to utilize parameters effectively: enhancing the flexibility, maintainability, and user control of your FME projects.
Here’s what you’ll gain:
- Essentials of FME Parameters: Understand the pivotal role of parameters, including Reader/Writer, Transformer, User, and FME Flow categories. Discover how they are the key to unlocking automation and optimization within your workflows.
- Practical Applications in FME Form: Delve into key user parameter types including choice, connections, and file URLs. Allow users to control how a workflow runs, making your workflows more reusable. Learn to import values and deliver the best user experience for your workflows while enhancing accuracy.
- Optimization Strategies in FME Flow: Explore the creation and strategic deployment of parameters in FME Flow, including the use of deployment and geometry parameters, to maximize workflow efficiency.
- Pro Tips for Success: Gain insights on parameterizing connections and leveraging new features like Conditional Visibility for clarity and simplicity.
We’ll wrap up with a glimpse into future webinars, followed by a Q&A session to address your specific questions surrounding this topic.
Don’t miss this opportunity to elevate your FME expertise and drive your projects to new heights of efficiency.
Securing your Kubernetes cluster_ a step-by-step guide to success !KatiaHIMEUR1
Today, after several years of existence, an extremely active community and an ultra-dynamic ecosystem, Kubernetes has established itself as the de facto standard in container orchestration. Thanks to a wide range of managed services, it has never been so easy to set up a ready-to-use Kubernetes cluster.
However, this ease of use means that the subject of security in Kubernetes is often left for later, or even neglected. This exposes companies to significant risks.
In this talk, I'll show you step-by-step how to secure your Kubernetes cluster for greater peace of mind and reliability.
Neuro-symbolic is not enough, we need neuro-*semantic*Frank van Harmelen
Neuro-symbolic (NeSy) AI is on the rise. However, simply machine learning on just any symbolic structure is not sufficient to really harvest the gains of NeSy. These will only be gained when the symbolic structures have an actual semantics. I give an operational definition of semantics as “predictable inference”.
All of this illustrated with link prediction over knowledge graphs, but the argument is general.
UiPath Test Automation using UiPath Test Suite series, part 3DianaGray10
Welcome to UiPath Test Automation using UiPath Test Suite series part 3. In this session, we will cover desktop automation along with UI automation.
Topics covered:
UI automation Introduction,
UI automation Sample
Desktop automation flow
Pradeep Chinnala, Senior Consultant Automation Developer @WonderBotz and UiPath MVP
Deepak Rai, Automation Practice Lead, Boundaryless Group and UiPath MVP
Software Delivery At the Speed of AI: Inflectra Invests In AI-Powered QualityInflectra
In this insightful webinar, Inflectra explores how artificial intelligence (AI) is transforming software development and testing. Discover how AI-powered tools are revolutionizing every stage of the software development lifecycle (SDLC), from design and prototyping to testing, deployment, and monitoring.
Learn about:
• The Future of Testing: How AI is shifting testing towards verification, analysis, and higher-level skills, while reducing repetitive tasks.
• Test Automation: How AI-powered test case generation, optimization, and self-healing tests are making testing more efficient and effective.
• Visual Testing: Explore the emerging capabilities of AI in visual testing and how it's set to revolutionize UI verification.
• Inflectra's AI Solutions: See demonstrations of Inflectra's cutting-edge AI tools like the ChatGPT plugin and Azure Open AI platform, designed to streamline your testing process.
Whether you're a developer, tester, or QA professional, this webinar will give you valuable insights into how AI is shaping the future of software delivery.
GraphRAG is All You need? LLM & Knowledge GraphGuy Korland
Guy Korland, CEO and Co-founder of FalkorDB, will review two articles on the integration of language models with knowledge graphs.
1. Unifying Large Language Models and Knowledge Graphs: A Roadmap.
https://arxiv.org/abs/2306.08302
2. Microsoft Research's GraphRAG paper and a review paper on various uses of knowledge graphs:
https://www.microsoft.com/en-us/research/blog/graphrag-unlocking-llm-discovery-on-narrative-private-data/
JMeter webinar - integration with InfluxDB and GrafanaRTTS
Watch this recorded webinar about real-time monitoring of application performance. See how to integrate Apache JMeter, the open-source leader in performance testing, with InfluxDB, the open-source time-series database, and Grafana, the open-source analytics and visualization application.
In this webinar, we will review the benefits of leveraging InfluxDB and Grafana when executing load tests and demonstrate how these tools are used to visualize performance metrics.
Length: 30 minutes
Session Overview
-------------------------------------------
During this webinar, we will cover the following topics while demonstrating the integrations of JMeter, InfluxDB and Grafana:
- What out-of-the-box solutions are available for real-time monitoring JMeter tests?
- What are the benefits of integrating InfluxDB and Grafana into the load testing stack?
- Which features are provided by Grafana?
- Demonstration of InfluxDB and Grafana using a practice web application
To view the webinar recording, go to:
https://www.rttsweb.com/jmeter-integration-webinar
LF Energy Webinar: Electrical Grid Modelling and Simulation Through PowSyBl -...DanBrown980551
Do you want to learn how to model and simulate an electrical network from scratch in under an hour?
Then welcome to this PowSyBl workshop, hosted by Rte, the French Transmission System Operator (TSO)!
During the webinar, you will discover the PowSyBl ecosystem as well as handle and study an electrical network through an interactive Python notebook.
PowSyBl is an open source project hosted by LF Energy, which offers a comprehensive set of features for electrical grid modelling and simulation. Among other advanced features, PowSyBl provides:
- A fully editable and extendable library for grid component modelling;
- Visualization tools to display your network;
- Grid simulation tools, such as power flows, security analyses (with or without remedial actions) and sensitivity analyses;
The framework is mostly written in Java, with a Python binding so that Python developers can access PowSyBl functionalities as well.
What you will learn during the webinar:
- For beginners: discover PowSyBl's functionalities through a quick general presentation and the notebook, without needing any expert coding skills;
- For advanced developers: master the skills to efficiently apply PowSyBl functionalities to your real-world scenarios.
Dev Dives: Train smarter, not harder – active learning and UiPath LLMs for do...UiPathCommunity
💥 Speed, accuracy, and scaling – discover the superpowers of GenAI in action with UiPath Document Understanding and Communications Mining™:
See how to accelerate model training and optimize model performance with active learning
Learn about the latest enhancements to out-of-the-box document processing – with little to no training required
Get an exclusive demo of the new family of UiPath LLMs – GenAI models specialized for processing different types of documents and messages
This is a hands-on session specifically designed for automation developers and AI enthusiasts seeking to enhance their knowledge in leveraging the latest intelligent document processing capabilities offered by UiPath.
Speakers:
👨🏫 Andras Palfi, Senior Product Manager, UiPath
👩🏫 Lenka Dulovicova, Product Program Manager, UiPath
Epistemic Interaction - tuning interfaces to provide information for AI supportAlan Dix
Paper presented at SYNERGY workshop at AVI 2024, Genoa, Italy. 3rd June 2024
https://alandix.com/academic/papers/synergy2024-epistemic/
As machine learning integrates deeper into human-computer interactions, the concept of epistemic interaction emerges, aiming to refine these interactions to enhance system adaptability. This approach encourages minor, intentional adjustments in user behaviour to enrich the data available for system learning. This paper introduces epistemic interaction within the context of human-system communication, illustrating how deliberate interaction design can improve system understanding and adaptation. Through concrete examples, we demonstrate the potential of epistemic interaction to significantly advance human-computer interaction by leveraging intuitive human communication strategies to inform system design and functionality, offering a novel pathway for enriching user-system engagements.
2. Questions
1. What is the Lost Wax Process?
2. What is the debate surrounding the Elgin Marbles all about?
3. Do you believe that this is ‘national’ or ‘universal’ heritage? Should we
interfere to protect it when we feel it is endangered?
4. In what ways are so many of the attitudes of Athenian society evident in
the sculpture / architecture of the 5th Century BC?
5. What difference does sculpting in marble or bronze make in terms of
physical appearance and expressive qualities?
6. Can you label the ‘orders’ (Doric, Ionic & Corinthian)? Do you think their
differences are purely aesthetic or is there a ‘meaning’ behind each?
4. Lost Wax Process
• Also known as “Lost Wax Method”, “Lost Wax Casting” or cire-perdue
(French term)
• Used in ancient Egypt, Greece and Rome
• Became popular during the Early Classical period (480-450 B.C.), and
Greece developed a widespread change from marble to bronze for
large-scale sculpture
• Casts hollow metal statues
• Captures exquisite detail in metal objects
• The “Lost Wax Process” is still employed today in the areas of sculpture,
fine jewelry, restorative work in dentistry and in the industrial setting
5. Two types of Lost Wax Process
Direct
1.
2.
3.
4.
Sculpture
Clay Casting
Burn-Out
Metal Casting
Indirect
sive
n
x pe
E
Heavy
unsightly bubble
s
and cracks
6. Two types of Lost Wax Process
Indirect
1. Sculpture
2. Wax Casting
3. Wax Chasing
4. Spruing & Gating
5. Ceramic Shell Casting
6. Burn-Out
7. Metal Casting
8. Break-Out/Devesting
9. Welding
10. Metal Chasing
7.
8. Zeus. c. 460 B.C. Bronze, height 6’10” (2.08m).
National Archaeological Museum, Athens
9. Knidian Aphrodite. Roman copy after an original of c. 340 B.C. by Praxiteles. Marble, height 6’8”
(2m). Musei Vaticani, Museo Pio Clementino, Gabinetto della Venere, Citta del Vaticano, Rome
10.
11. REFERENCES
Adams, L.S. (2011). A History of Western Art (5th ed.). New York: McGraw-Hill
Janson, A.F., & Janson, H.W. (2006). A Basic History of Western Art (7 th ed). New Jersey: Pearson Education, Inc.
Collins, N. (2007). Lost Wax Casting. Retrieved from
http://www.lost-wax-casting.com/HISTORY%20OF%20LOST%20WAX%20CASTING.htm
Lost Wax Method. (2006). Retrieved from http://canequest.com/lost-wax.asp
The Original Lost Wax Casting Process. (2012). Retrieved from http://www.frbronze.com/casting.htm
Bronze Art Casting Process. (2011) Retrieved from http://www.americanbronze.com/process.html
12. What is the debate
surrounding the Elgin marbles?
13. The Elgin Marbles
• The Elgin marbles (a.k.a Parthenon sculptures) are a series of
ancient Greek statues mainly from the Parthenon and buildings
around the same area,
• Created as a dedication unto the goddess Athena nearly 2500
years ago.
•The building survived changes and alterations over centuries until
an explosion occurred in the mid-sixteenths, which landed it in ruins
ever since.
• The British ambassador to the Ottoman Empire, Thomas Bruce, had
a love for Greek art and had obtained a firman from the sultan to
remove and bring several surviving sculptures back to England.
• It is now stationed at the British museum in London.
15. Reasons for returning to Greece :
• Illegal means were used to get the sculptures. It should therefore
be returned to its rightful place.
• The museum in Greece was built to imitate its natural climate
(temperature and humidity etc..) and would therefore be a more
apt place to store the artifacts.
• The intepretation of the piece of artwork would be better if it was
all in one piece rather than being scattered around the globe.
• The British museum could use casts of the sculptures, while the
originals should be in the museum at Athens.
16. Reasons for remaining in Britain :
• The museum wouldn’t be a museum if it didn’t have artifacts from
around the world.
• Britain had saved the sculptures before they could be destroyed
by natural disasters and pollution in Athens.
• The statues are too fragile to be transported back to Greece.
• Even if the sculptures were returned, the set in Greece would still
be very incomplete.
• The removal of the statues had been approved by the ruling
government at that point of time.
17. Public opinion on the matter :
• A survey carried out by Ispos MORI, the second largest market
research organisation in the United Kingdoms, was conducted in
2002.
- 40% in favour of returning the marbles to Greece
- 16% in favour of keeping them at the British Museum
- The remainder had no opinion or chose not to vote.
18. REFERENCES
Encyclopædia Britannica, Elgin Marbles, 2008, O.Ed.
Casey, Christopher (October 30, 2008).
""Grecian Grandeurs and the Rude Wasting of Old Time": Britain, the Elgin Marbles, and Post-Revolutionary Hellenism".
Foundations. Volume III, Number 1. Retrieved 2009-06-25.
Linda Theodorou; Facaros, Dana (2003). Greece (Cadogan Country Guides). Cadogan Guides. p. 55. ISBN
1-86011-898-4.
Mark Ellingham, Tim Salmon, Marc Dubin, Natania Jansz, John Fisher, Greece: The Rough Guide,Rough Guides,
1992,ISBN 1-85828-020-6, p.39
King, Dorothy (2004-07-21). "Elgin Marbles: fact or fiction?". London: The Guardian. Retrieved 2009-06-25.
Nicoletta Divari-Valakou, (Director of the Ephorate of Prehistoric and Classical Antiquities of Athens), "Revisiting the
Parthenon: National Heritage in the Age of Globalism" in Mille Gabriel & Jens Dahl, (eds.) Utimut : past heritage —
future partnerships, discussions on repatriation in the 21st Century, Copenhagen : International Work Group for
Indigenous Affairs and Greenland National Museum & Archives, (2008)
Brabant, Malcolm (2006-11-10). "Swede gives back Acropolis marble". BBC News Online. Retrieved 2010-01-03.
"TA NEA On-line". Tanea.gr. Retrieved 2009-01-20.
Bernard Tschumi — New Acropolis Museum
British Museum press release on the Elgin Marbles".
19. Do you believe that this is ‘national’
or ‘universal’ heritage? Should we
interfere to protect it when we feel
it is endangered?
20. “The Athenian Acropolis, ‘the corner stone of the Classical Greek era’, in becoming a
‘world monument’ also became the national monument of Greece par excellence”
-Eleana Yalouri
22. REFERENCES
Brabant, M. (Producer). (2008, May 7th ). Acropolis Museum girds for battle over Marbles [Audio podcast]. Retrieved from
http://www.youtube.com/watch?v=UWy1UzF8JVI
Zeman, A. (2012) A Game Changer? The Complexities of Cultural Heritage in the Debate Over the Elgin Marbles. Retrieved from
http://digitalwindow.vassar.edu/cgi/viewcontent.cgi?article=1066&context=senior_capstone
Rakic, T., & Chambers, D. World Heritage: exploring the tension between the national and the ‘universal’ . Retrieved from
http://epubs.surrey.ac.uk/1133/1/fulltext.pdf
23. In what ways are so many of the
attitudes of Athenian society evident in
the sculpture / architecture of the
5th Century BC?
28. REFERENCES
Walcot, P. Greek Attitudes towards Women: The Mythological Evidence. Retrieved from http
://lamar.colostate.edu/~jgaughan/courses/309/texts/WalcottGreekAttitudes.htm
Cartwright, M. (2013). Greek Architecture. Retrieved from http://www.ancient.eu.com/Greek_Architecture/
Death, Burial, and the Afterlife in Ancient Greece (2013). Retrieved from http://www.metmuseum.org/toah/hd/dbag/hd_dbag.htm
Giants. Retrieved from http://www.mythencyclopedia.com/Fi-Go/Giants.html#b
29. What difference does sculpting in
marble or bronze make in terms of
physical appearance and
expressive qualities?
35. REFERENCES
Bronze. Retrieved from http://library.thinkquest.org/23492/data/bronze.htm
Greek Sculpture. Retrieved from http://www.portergaud.edu/academic/faculty/mcarver/cmcarver/grsc.html
Donatello’s David. Retrieved from http://employees.oneonta.edu/farberas/arth/arth213/donatello_david.html
Spencer, R.B. (2010, Dec 14th). Top 10 Greatest Sculptures. Retrieved from http://listverse.com/2010/12/14/top-10-greatest-sculptures/
Marble. Retrieved from http://library.thinkquest.org/23492/data/marble.htm
The Marble Sculpture- Advantages and Disadvantages. Retrieved from
http://whatafy.com/the-marble-sculpture-advantages-and-disadvantages.html
Marble Sculpture. Retrieved from http://arts.indianetzone.com/sculpture/1/marble_sculpture_india.htm
Marble Sculpture. Retrieved from http://www.visual-arts-cork.com/sculpture/marble.htm
Llgreek, I. (2012, Jul 30). Greatest Greek Bronze Statues [Web blog post]. Retrieved from
http://its-all-greek.blogspot.sg/2012/07/greatest-greek-bronze-statues.html
36. Can you label the ‘orders’
(Doric, Ionic & Corinthian)?
Do you think their differences are
purely aesthetic or is there
a ‘meaning’ behind each?
42. REFERENCES
Plato. (January 28, 2013). Classical Wisdom Weekly. In Not Just Another Column. Retrieved August 29, 2013, from
http://classicalwisdom.com/not-just-another-column/.
Dietsch, D. K. (n.d). For Dummies. In Greek Architecture: Doric, Ionic, or Corinthian?. Retrieved August 29, 2013, from
http://www.dummies.com/how-to/content/greek-architecture-doric-ionic-or-corinthian.html.
Cline, A. (n.d). Columns of Greek Temples. In Ancient Greek Mythology, Religion, Art. Retrieved August 29, 2013, from
http://atheism.about.com/library/FAQs/religion/blgrk_temples03.htm.
Emerson, M. (2007) Greek Sanctuaries: An Introduction. London: Bristol Classical.
IMAGES
http://classicalwisdom.com/not-just-another-column/ancient-greek-styles/
Doric: http://www.granadahillslodge378.com/25year.html
Ionic: http://luisaugustopascual.wordpress.com/category/griego/
http://www.fotolia.com/id/41536731
Corinthian: http://www.mccullagh.org/photo/1ds-12/temple-of-zeus-corinthian-columns
http://www.arqhys.com/contenidos/orden-corintio-arquitectura.html
Editor's Notes
Lost wax method or casting (Also known by the French term cire-perdue) is an ancient process dating back thousands of years to ancient Egypt, Greece and Rome.
One early classical development was the widespread change from marble to bronze for large-scale sculpture.
Hollow statues were cast by the ‘lost wax’ process. Solid bronze casting had been used since the Aegean period (a history of western art)
It is still the best method for capturing exquisite detail in metal objects, which could not otherwise be produced given the complexity of their design. This process allows anything modelled in wax to be recreated fully and faithfully into various metals. The lost wax method is still employed today in the areas of sculpture, fine jewelry, restorative work in dentistry and in the industrial setting. It is a demanding and expensive process, but rewards the artisan with an object of great detail and individuality.
The Egyptians, Minoans, and early Greeks had often made statuettes of solid bronze using the direct lost-wax process. The technique was simple.
The sculptor modeled his figure in wax;
covered it with clay to form a mold;
heated out the wax;
poured this alloy into the space left by the “lost-wax” in the clay mold.
Yet because figures made in this way were solid, the method had severe limitations. A solid-cast, life-size statue would have been expensive, incredibly heavy, and prone to developing unsightly bubbles and cracks as the alloy cooled. So from the eighth to sixth centuries B.C ( 800-600B.C), the Greeks developed the indirect lost-wax method, which allowed statues to be cast hollow and at any scale.
STEP 1 Making the Mold: First, the sculptor molds a soft pliable material such as clay or plaster into the desired shape
STEP 2 Making the Wax Casting: He then covers the clay core with a layer of wax to the thickness of the final metal casting(like a wax statue now).
STEP 3 Chasing the Wax: He needs to carve the details of the statue carefully in the wax as all details and features the sculptor desires in the finished piece must appear in the wax model. The figure is then sectioned into its component parts- heads, torso, limbs, and so on.
STEP 4 Spruing & Gating: Wax sprues and gates were attached to the model to provide pathways for the wax to evacuate the mould and for the molten metal to enter it. Wax vents were also added through which hot gases could rise while the liquid bronze was being poured.
STEP 5 Casting the Ceramic Shell: The wax model with its vents and gates is then painted with very thin clay first in order to pick up the finely sculpted and carved details. Then it is covered completely with a coarser clay mantle. The mantle was attached to the inner core by iron or bronze pins called chaplets. / the ceramic shell can be of any shape.
STEP 6 Burn-Out: The ceramic shell is then baked slowly so that the wax would melt out (lost from the shell) and then it is fired at higher temperature so that the shell would harden. This creates a hollow ceramic shell mold. Thus the term “Lost Wax.”
STEP 7 Metal Casting: Molten metal (~2100 Farenheit) – usually bronze, can also be silver or gold- is then poured into the space left by this ‘lost wax’.
STEP 8 Break-Out/ Devesting: When the molten metal cools and hardens for a few days or more, the outer and inner molds are carefully broken away, leaving a metal casting (hollow) The chaplets, vents, and gates, now in bronze, are also removed. It is then glass beaded, water or sand blasted to remove any remaining shell material from the intricate details of the casting.
STEP 9 Assembly/Welding: If the original was sectioned into multiple pieces, it would now be carefully fitted and reassembled. A visual inspection is done to check for any casting inclusions. If there are any surface defects, these would also be repaired at this time. All sections of the casting are welded together with great care and attention to alignment.
STEP 8 Metal Chasing /polish: All the weld marks are chased and re-detailed
qualities of Bronze
-relatively strong alloy of two other metals, tin and copper.
the ease of transportation, considering how light a hollow bronze statue is compared to a counterpart in marble.
-
Bronze is used for sculpture of god,heroes and athletes because of its light weight, its flexibility and its color- like oiled and tanned flesh. pg228
-The ability of bronze to hold its shape - no matter how complex - allowed sculptors to more easily experiment with less rigid poses.
-leaden weights could easily be placed inside the hollow feet, enabling any number of sculptural poses that would otherwise cause the sculpture to topple over (or crack from internal stress if the statue was bolted to a base)Eg. Poseidon or Zeus from Cape Artemisium c. 455.
-
The Charioteer of Delphi possesses the dark color with reflections and sharp contours, the crisp edges of the details necessitated by the darkness of the material, which are characteristic of work in bronze.
black and gold of bronze have a depth and intensity
the nature of bronze permitted the sculptor to utilize exquisite detail and extraordinary shine or dullness
varieties of marble are derived from the sedimentation (a slow geological rock formation process) of calcite limestone, and are fundamentally related in that regard. They differ due to color, texture, weathering, and chemical composition.
the coarseness or fineness of the marble crystals.
( fine texture enabled the sculptor to achieve greater detail with his work. But the smaller crystals (of the finer surface) created a duller surface that was more apt to tarnish by the collection of small particles of dirt in crevices between these minute crystals. )
(choice of texture was the sculptor's option for a coarse surface, with larger crystals that showed readily, which imparted a more brilliant surface to the finished work. )
-does not handle well as it absorbs skin oils, causing staining.
depict Aphrodite, the Greek goddess of love and beauty(Venus de Milo)
marble has a slight translucent surface which can even be compared to the appearance of the human skin. Precisely this translucent surface gives the marble sculpture a visible depth, deepness beyond the faintest surface and this evokes certain realism, especially when it is used to make human figures.
DIFFERENCES BETWEEN MARBLE AND BRONZELooksBronze-Bronze is used for sculpture of god,heroes and athletes because of its light weight, its flexibility and its color- like oiled and tanned flesh. -black and gold of bronze have a depth and intensityMarble-marble has a slight translucent surface which can even be compared to the appearance of the human skin. Precisely this translucent surface gives the marble sculpture a visible depth, deepness beyond the faintest surface and this evokes certain realism, especially when it is used to make human figures.(the low refractory index of refraction of calcite permits light to penetrate into the stone (as it does the human skin), resulting in the typical "waxy" look which gives the stone a human appearance.)-the whiteness of marble a coldness, clarity, and, serenity, inescapable.-does not handle well as it absorbs skin oils, causing staining.Bronze vs Marble-leaden weights could easily be placed inside the hollow feet, enabling any number of sculptural poses that would otherwise cause the sculpture to topple over (or crack from internal stress if the statue was bolted to a base) if it was made of marble.-Unlike marble, the nature of bronze permitted the sculptor to utilize exquisite detail and extraordinary shine or dullness-the ease of transportation, considering how light a hollow bronze statue is compared to a counterpart in marble.