Emma M. Payne - Casting the Parthenon Sculptures from the Eighteenth Century to the Digital Age
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- Book:Casting the Parthenon Sculptures from the Eighteenth Century to the Digital Age
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Casting the Parthenon Sculptures from the Eighteenth Century to the Digital Age: summary, description and annotation
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Through the 19th century, as archaeology started to emerge as a systematic discipline, plaster casting became a widely-adopted technique, newly applied by archaeologists to document and transmit discoveries from their expeditions. The Parthenon sculptures were some of the first to be cast. In the late 18th century and the first years of the 19th century, the French artist Fauvel and Lord Elgins men conducted campaigns on the Athenian Acropolis. Both created casts of parts of the Parthenon sculptures that they did not remove and these were sent back to France and Britain where they were esteemed and displayed alongside other, original sections. Henceforth, casting was established as an essential archaeological tool and grew exponentially over the course of the century.
Such casts are now not only fascinating historical objects but may also be considered time capsules, capturing the details of important ancient works when they were first moulded in centuries past. This book examines the role of 19th century casts as an archaeological resource and explores how their materiality and spread impacted the reception of the Parthenon sculptures and other Greek and Roman works. Investigation of their historical context is combined with analysis of new digital models of the Parthenon sculptures and their casts. Sensitive 3D imaging techniques allow investigation of the surface markings of the objects in exceptionally fine detail and enable quantitative comparative studies comparing the originals and the casts. The 19th century casts are found to be even more accurate, but also complex, than anticipated; through careful study of their multiple layers, we can retrieve surface information now lost from the originals through weathering and vandalism.
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from the Eighteenth Century
to the Digital Age
Also available from Bloomsbury
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Moulding a statue. Reproduced from Carradori (1802, plate 6).
Detail of a piece-mould. Reproduced from Diderot (1765, vol. 8).
Visible seam lines on a cast from the Parthenons West Frieze. Reproduced from Furtwngler (1911, Fig. 1.8).9
The Parthenon in the twenty-first century (Image: Emma Payne).
Lorenzo Giuntini using plaster to mould Zoomorph P The Great Turtle in Quirigua. Reproduced from Maudslay (18891902, plate 53a).
The removal of the Sculptures from the Pediment of the Parthenon by Lord Elgin.William Gell. 1801. Watercolour and pencil on paper. Benaki Museum, Athens, Greece. (Wikimedia: Google Art Project).
Reproduced from Illustrated London News(18 May 1929, p. 839).
Reproduced from Illustrated London News(18 May 1929, p. 8401).
Eastern faade of the Parthenon. Reproduced from Stillman (1870).
View of the Acropolis. Reproduced from Dodwell (1821).
Inscriptions on the columns of the Parthenon. Reproduced from Stillman (1870).
West Frieze in situ. Frdric Boissonnas. 1910. Heliogravure/Photolithograph. 84.XB.584.160. The J. Paul Getty Museum.
West Frieze III (Image: Getty).
Elgin cast of West Frieze III, reproduced from Smith (1910).
West Frieze VIII (Image: Emma Payne, courtesy of Acropolis Museum).
Elgin cast of West Frieze VIII, reproduced from Smith (1910).
Elgin cast of West Frieze VIII (3D model).
Merlin cast of West Frieze VIII (3D model).
West Frieze XII (Image: Getty).
Elgin cast of West Frieze XII, reproduced from Smith (1910).
Merlin cast of West Frieze XII: detail (3D model).
West Frieze XVI (3D model of original).
Elgin cast of West Frieze XVI (3D model).
North Frieze XXXVI (Image: Getty).
Cast of North Frieze XXXVI, reproduced from Smith (1910).
Gaussian curvature, Elgin cast, Figure 23, West Frieze XII.
Gaussian curvature, Merlin cast, Figure 23, West Frieze XII.
Gaussian curvature, original marble, Figure 23, West Frieze XII.
West Frieze III Figure 5. Deviation map: Elgin cast and original: 5 mm limit.
West Frieze III Figure 5. Deviation map: Elgin cast and original: 1 mm limit.
West Frieze III Figure 6. Deviation map: Elgin cast and original: 5 mm limit.
West Frieze III Figure 6. Deviation map: Elgin cast and original: 1 mm limit.
West Frieze VIII. Deviation map: Elgin cast and original: 5 mm limit.
West Frieze VIII. Deviation map: Elgin cast and original: 1 mm limit.
West Frieze VIII. Deviation map: Merlin cast and original: 5 mm limit.
West Frieze VIII. Deviation map: Merlin cast and original: 1 mm limit.
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