Many of the casts were taken from the original artworks by J. O. Westwood and A. Nesbitt. At first they used gutta-percha alone, but it was found that after being softened in hot water it hardened again too rapidly to allow a large ivory to be properly pressed. Hence they mixed wax with the gutta-percha, which caused it to retain its softness for a longer period. The prepared gutta-percha was then to be placed in hot water (which was not allowed to boil), and when it became as soft as putty it was moulded by hand into a flattened plate rather larger than the artwork to be moulded. The face of the artwork was wetted with clear cold water, or washed over with soft soap and while wet the gutta-percha was placed upon it and pressed by the thumb carefully so as to force the gutta-percha into all the deeper cut parts of the artwork.

It was then allowed to harden and cool, after which it was lifted with great care from the artwork. Once removed the mould was ready to receive the fluid plaster of Paris of the finest quality. Westwood notes that when a number of copies were required an electrotype made of the mould was preferred to ensure every cast was as fresh as the first. In this manner a considerable number, both of moulds and electrotype moulds, were accumulated by Alexander Nesbitt, A. W. Franks, and J. O. Westwood. These were later transferred to the Arundel Society, who sold copies of the casts from 1855.

The beauty of the casts made from these moulds was universally acknowledged at the time as they were made with the finest plaster of Paris by Messrs. Franchi, whose business was transferred to Messrs. Elkington, who continued to sell nearly all of the specimens taken by Nesbitt and Westwood. When properly made, and carefully coloured by hand from the originals, (the surface allowing the application of common water colours), it was next to impossible to distinguish one of these casts from the original.

Walrus ivory ceased to be used in Europe long before the nineteenth century and most examples date back to medieval and Carlovingian periods. In addition the scarcity of Elephants in the medieval period limited its use, although it is important to note that frozen fossil tusks from mammoths had been used, particularly in Russia. Among ivories there is a wide difference in the condition and colour. This is not caused by the origin of the material, or even necessarily the age, as some newer pieces are among the most discoloured and brittle in appearance. It seems the innumerable possible accidents to which carved ivories are exposed from age to age accounts for this great difference.

References
Westwood, J. O., A Descriptive Catalogue of the Fictile Ivories in the South Kensington Museum, printed by George E. Eyre and William Spottiswoode, printers to the Queen's Most Excellent Majesty, Piccadilly, London, 1876

Between 1884 and 1887 the Museum of Applied Arts and Sciences acquired over 650 plaster cast reproductions of European Medieval carved artworks into its collection. These were purchased from: F. Kusthardt in 1884; J. Kreittmayr in 1885; and Messrs Elkington & Co between 1885 and 1887.

Replica book cover, Works of Charity and Mercy, Byzantine 12th C CE, fictile ivory plaster cast, made by Elkington and Co, London, England, 1855-1887

Plaster cast of an ivory original from the British Museum. Another cast from the same process is held by the Victoria and Albert Museum, London (repro.1858-118)

The original was a cover of the psalter of the Princess Melisenda, daughter of Baldwin, King of Jerusalem. A vertical panel divided into six circular compartments, representing six of the acts of mercy, connected together by jewelled ribbons. The interstices are filled with monstrous birds and beasts sporting amongst branches. In each scene the person performing the act of charity is a king, dressed in royal robes of various fashions with a crown. The whole is enclosed in an arabesque border. Inside the upper margin is inscribed HERODIUS in small red capitals.

Upper left compartment - The King with an attendant gives food to a begger. A label by the King's head is inscribed with "Esurivi et dedistis mihi manducare" (trans. "I was hungry and you gave me something to eat").

Upper right compartment - The King, seated on a Byzantine throne and cushion, pours drink into a cup held by a beggar. A label by the King's head is inscribed with "Sitivi et dedistis michi bibere" (trans. "I was thirsty and you gave me drink").

Middle left compartment - The King, in a robe marked with the lati-clavus, takes a beggar by the hand to an open door. A label by the King's head is inscribed with "Hospes et collegistis me" (trans. "A stranger and you took me in").

Middle right compartment - The King, with an attendant, gives clothes to a naked man. A label by the King's head is inscribed with "Nudus et cooperuistis me" (trans. "Naked and you clothed me").

Lower right compartment - The King visits a sick person in bed. He stands in front of the sick person supporting them by the arm. A label by the King's head is inscribed with "Infirmus et visitastis me" (trans. "The weak and you visited me").

Lower left compartment - The King visits a prisoner whose legs and arms are fastened in the stocks. A label by the King's head is inscribed with "In carcere et venistis ad me" (trans. "In the prison and you came to me").

Reference: Westwood, J. O., 'Fictile Ivory Casts in the South Kensington Museum', Chapman and Hall, London, 1876 (58-118)

Made: Elkington & Co; ; 1882 - 1892

16423

1882 - 1892

232 mm

151 mm

18 mm