The Berlin Foundry Cup: The Casting of Greek Bronze Statuary in the Early Fifth           Century B.C.

Mattusch, Carol C.

doi:10.2307/504071

Cited by 22 publications

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“…The scene continues in the exterior part, where we find one of the most detailed pictures of a bronze workshop from antiquity: a bearded male figure stokes coals in a furnace, while in the back a second young worker manipulates bellows to kindle the fire. Other craftsmen work to finish a statue, and various tools (hammers, a saw), along with various parts of statues (heads, feet, and hands), are depicted in the background (Mattusch 1980;see Figure 8.6). In addition to potters and bronze-workers, other professions were also represented.…”

Section: Matteo Martellimentioning

confidence: 99%

A Cultural History Of Chemistry

2022

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FIGURES 1.1 Ceiling of the pronaos of the temple of Dendara. Thirty-six decans made of both precious metals and minerals. © Sydney H. Aufrère 1.2 Crypt South no. 1. Temple of Dendara. Statue of the god Harsomtus as a serpent. Caption indicating the size and the nature of the metals and minerals used (Dendara V: 140, 7). © Sydney H. Aufrère 1.3 Names of the temple of Dendara dedicated to the goddess Hathor. Temple of Dendara, northern passage of the hypostyle hall, Ptolemaic period. © Sydney H. Aufrère 1.4 One of the names of the temple of Dendara dedicated to the goddess Hathor: "Mansion-of-Electrum" (Per-en-Djam). © Sydney H. Aufrère 1.5 Cuneiform tablet BM 120960, Middle Babylonian, Tell Umar. © The Trustees of the British Museum 1.6 Late Uruk cylinder seal, 4000-3100 Bce. Photograph by Ashmolean Museum/Heritage Images/Getty Images 2.1 Flared cylindrical perfume pots set with a palm leaf. Old Kingdom. Cairo Museum. © Sydney H. Aufrère 2.2 Three foundation tablets from Khorsabad, Assyrian from the reign of Sargon II (721-705 Bce; gold, silver, and copper). © Bridgeman Images 2.3 Vials of kermes and Rubia tinctorum. Photograph © Nicole Reifarth LIST OF ILLUSTRATIONS viii LIST OF ILLUSTRATIONS 2.4 Archaeological remains of dye in Qatna. Photograph © Nicole Reifarth 2.5 Fluted glass bottle. © The Trustees of the British Museum 3.1 Procession of metals and mineral bearers. Treasure D'. Dendara temple. © Sydney H. Aufrère 3.2 Tinctorium (dyeing workshop), South-East Dendara temple. © Sydney H. Aufrère 3.3 The proto-cuneiform signs representing ovens and kilns: MAH a , AD a , and SIMUG. Drawing by the author, after signs drawn by R.K. EnglundA Cultural History of Chemistry examines the history of chemistry and its wider contexts from antiquity to the present. The series consists of six chronologically defined volumes, each volume comprising nine essays; these fifty-four contributions were written and/or edited by a total of fifty scholars, of ten different nationalities. Of Bloomsbury's many six-volume Cultural Histories currently in print, this is the first in the physical or natural sciences; it is also the first multivolume history of chemistry to appear since James Riddick Partington's four-volume History of Chemistry, concluded more than fifty years ago. It is distinguished, among other qualities, by its endeavor to take the subject from antiquity right to the present day. This is not a conventional history of chemistry, but a first attempt at creating a cultural history of the science. All cultures, including the various branches of natural science, consist of mixed constructs of social, intellectual, and material elements; however, the cultural-historical study of chemistry is still in an early stage of development. We hope that the accounts presented in these volumes will prove useful for students and scholars interested in the subject, and a starting point for those who are striving to create a more fully developed cultural history of chemistry.Each volume has the same structure: starting with an interpretive...

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Section: Matteo Martellimentioning

confidence: 99%

A Cultural History Of Chemistry

2022

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“…Ross Holloway has argued that virtuosity in the methods of producing hollow casting had an immense influence on the development of the Severe Style; the plasticity of clay prototypes and moulds resulted in softer facial expressions and the abandonment of fragmented garments. Holloway sees Athens, Aegina and Argos as playing the most important role in the development of this technique and rejects the possibility of Milesian involvement out of hand (Holloway 1988, 56; see also Mattusch 1980): ‘Miletos, following its misfortunes in the Ionian revolt, was hardly likely to have been the home of an important and innovative group of sculptors in 480 B.C.’ (Holloway 1988, 60). It is true that there are no preserved bronze statues from Ionia datable to this period, not even small bronze statuettes (Thomas 1981, 162).…”

Section: The View From Ionia and Beyond: Lost Media Forgotten Cosmopmentioning

confidence: 99%

Figures in Motion: An Ionian Perspective on the Severe Style

Slawisch

2019

Annu. Br. Sch. Athens

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A re-examination of three marble sculpture fragments from Miletos and their dating provides the catalyst for a revised approach to the source of the Severe Style both in chronological and geographical terms. A number of evidential threads are assembled to demonstrate the likelihood that the Severe Style has its origins in an earlier artistic milieu than usually assumed, i.e. before 494 bc, with Ionian workshops playing an equal if not leading role to Attic ones in its creation. It is argued that the Severe Style should not be considered an Athenian artistic response to the trauma of the Persian Wars, produced in a thunderbolt of inspiration around 480 bc. Instead the mechanisms of innovation for classical art should be sought elsewhere, with the shift from Archaic and Classical styles better conceived as a slower process with no epochal thresholds and the Severe Style's association with Athens a result of the city's subsequent successful cultural propaganda.

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“…The foundrymen could not have used any other method of melting and handling such a large quantity of bronze with the technology available at the time. The technology hypothesized by Mattusch (1975Mattusch ( , 1980Mattusch ( , 1988, Heilmeyer et al (1987), Zimmer (1990), Formigli (1999) and others is unrealistic. 13…”

Section: ) How Was the Molten Bronze Actually Poured Into The Mould?mentioning

confidence: 99%

“…including Mattusch (1975Mattusch ( , 1980Mattusch ( , 1988Mattusch ( , 1996, Heilmeyer et al (1987), Zimmer (1990) and Formigli (1985Formigli ( , 1999.…”

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Casting the Riace Bronzes: Modern Assumptions and Ancient Facts

Hoffmann¹,

Konstam²

2002

Oxford J Archaeology

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This article argues that classical archaeologists have seriously underestimated the output of heat required to melt a large quantity of bronze and therefore have wrongly reconstructed the ancient casting process. The idea that sufficient metal for casting a bronze of monumental proportions could be heated in a crucible with a charcoal fire ventilated by bellows is not realistic. The following observations are based on solid foundry experience: Nigel Konstam, a bronze sculptor, for many years supervised the casting of monumental bronzes comparable in size to those from Riace. This article has been written by Herbert Hoffmann drawing on Konstam's notes. 1 THE MODERN ASSUMPTIONS

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The Berlin Foundry Cup: The Casting of Greek Bronze Statuary in the Early Fifth Century B.C.

Cited by 22 publications

References 0 publications

A Cultural History Of Chemistry

A Cultural History Of Chemistry

Figures in Motion: An Ionian Perspective on the Severe Style

Casting the Riace Bronzes: Modern Assumptions and Ancient Facts

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