1
iM
STATES.
J O {-- f
' IA Hatka, Wenzel, Prague —Proprietor.
very Slm ,ii ijatimee, by Kusclie, of Vienna , containeda platinum blowpipe apparatus.
Schiller & Gehhino, Bodenbach, near Tctschen-on-thc-lilbe, Bohemia — Manufacturers.
«««ip.of Syderolite ware, consisting of wine-jug, flowerp , s > "ine-cooler, candlesticks, icejiail, inkstand, &c.—' l 038.—plate 412.
^10 Monti, Haitaelk, Milan, and 45 Great MarlboroughStreet, London — Designer and Sculptor,jtatucs in Carrara marble.
lici.' ,Ve . Mter the Fall, arrived at the full consciousness of1 «rime.
.« np she rose
As from unrest;.
..left
To guilty slmme;.
.destitute and hare
Of all her virtue : silent, and in faceConfounded, long she sat, as stricken mute.”
(Milton’s Paradise Lost , book lx.)
^ Circassian slave in the market.
.'"’hen chained in the market, she crouched down, aw if inBlion •>. liie Kaine time, looking round at the crowds, her eyes
trough the veil with detlance and dignity.”
^ . (llivrveUi’tt J'ariical Journey in the East,}
as a vendor of hearts, one of a pair representingL ' nt and modern love.—P. 1044.—Plate 417.
kail 1 *' ¥ onti i of Milan (74(i, p. 1044). Eve after the**Kur . ari "’.'■‘'l at the full consciousness of her crime. Thislll ')tiv’,^ 1 “ c h * B m marble, is appropriately conceived; theA,,. , e ls pleasing, and the execution is very careful.” —Reports, Cl. 30, p. 703.
h PRUSSIA.
S?9
(j , Kiss, Professor A., Berlin ,x 011 ou'l * n ^ rtmi! cd zinc, life-size, representing an Ama-ar enze ■ ' ors< ft ) ack, attacked by a tiger ; after one cust inV 1 the’i? hy a number ot amateurs, and presentedAlaj<. s , ■ , ln 8 °f Prussia, and which was placed by hisJilt, vonnnand, in front of the Uoyal Museum, ller-bl, °nz wi asi K*'ed by tlie exhibitor. Cast in zinc and, 1 (iciss, of Merlin, by his peculiar pro-
[Zi ‘ —date 294.
'' i * s ting C jjjj 8 Uot i )cen applied to the purposes of statuary! hut .^ w w °rks of architectural decoration, in Eng-ikTioj , 111 Prussia it lias been in use for a considerable
I'tyJ ■ > ussta it
its appli ratioll
, instead of bronze, was suggested
by Schinkel ; but it seems doubtful how far its durabilitymay be trusted. Sheet zinc is affected by the atmosphere,and speedily crumbles; otherwise the fusibility of themetal at a heat considerably lower than bronze, the lesscost of the raw material, in connection with a rigidityand hardness when cold, would, other circumstancesbeing equal, form important recommendations for itsvery general adoption. The casting of the Amazon wasaccomplished by the method employed by Cellini, whichmay be briefly described as follows:—A pit is dug, and agrating fixed at some distance from the bottom; a ruderepresentation of the intended figure, proportionably lessin size than the intended cast, and corresponding to theinterior or core, is reared upon this. After this is dried,sheets of modelling wax, corresponding to the thicknessof the metal, is spread upon it, and the details to be repre-sented produced by the artist with his modelling tools.Pods of bronze, or the metal of which the statue is cast, aredriven through the wax, and project sufficiently to passinto the outer cover of the mould : these.fuse with themolten metal, and are not recognised in the finishedstatue. From the prominent parts of the model rods ofwax are projected, which rise upwards, and are intendedto allow the escape of air (the presence of which is calcu-lated either to destroy the mould or render the cast im-perfect) : other rods of wax indicate the passages throughwhich the metal is to be conveyed. The wax is nowcoated with loam, or powdered crucible ground with waterto the consistency of cream. Coat follows coat, until itis thought sufficient thickness is arrived at. Earth orclay is heaped upon this, the whole cased with bricks,which is bound together with iron rods. Ileat is thenapplied under the grate; the wax, which represents thethickness of the metal, runs out and leaves a space, ulti-mately filled with the metal which forms the statue ; theheat, which serves to melt the wax, serves also to drythe mould and expel the damp. When covered up, thetop of the mould is below the level of the furnace con-taining the melted metal, which, when tapped, flowsthrough the various channels till the mould is filled.After cooling, the outer coating of the mould is destroyed,and the statue stands revealed. The runners are cut off,and the whole chased or finished as may be desired. Inthe present instance copper was deposited on the surfaceof the zinc by galvanic action; a bronze surface is therebyproduced, which is alike beautiful and durable. Thereader interested in the art of casting is referred tochap, fi, book 4tli, of the Autobiography of Cellini,wherein is detailed the casting of his celebrated group ofPerseus and Andromeda.—W. C. A.]
5 S
[OiriciAi. Illustrated Catalogue.]