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Figure from:“A Conservator’s Perspective on Ancient Metallurgy.”

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Fig. 12.10 a Cat sarcophagus, Egyptian, Macedonian-Ptolemaic Period (332-30 B.C.). Hollow cast bronze. H. with tangs 32.0 cm. New York, The Metropolitan Museum of Art, Harris Brisbane Dick Fund, 1956 (56.16.1). b X-ray radiograph of bronze cat sarcophagus; the hollow body, head, and legs appear more radiotransparent than the solid ears, paws, tail, and tangs. Radiopaque bands along the top of the legs (a) indicate where wax, now reproduced in cast metal, was used to join separate cores. Small rectangular radiotransparent spot indicate original locations of now- rusted iron core supports (b) Two cast-in repairs are proportionately more radiopaque than the surrounding walls. (c) sarcophagus placed directly over microscope objective to avoid sampling during metallurgical examination. d Polished section viewed under conventional light showing dendritic structure; superficial and intergranular cuprite corrosion appears red. The latter, when present, is considered a highly reliable indicator of an extended period of burial. (Images © The Metropolitan Museum of Art)

Figure 12 10 a Cat sarcophagus, Egyptian, Macedonian-Ptolemaic Period (332-30 B.C.). Hollow cast bronze. H. with tangs 32.0 cm. New York, The Metropolitan Museum of Art, Harris Brisbane Dick Fund, 1956 (56.16.1). b X-ray radiograph of bronze cat sarcophagus; the hollow body, head, and legs appear more radiotransparent than the solid ears, paws, tail, and tangs. Radiopaque bands along the top of the legs (a) indicate where wax, now reproduced in cast metal, was used to join separate cores. Small rectangular radiotransparent spot indicate original locations of now- rusted iron core supports (b) Two cast-in repairs are proportionately more radiopaque than the surrounding walls. (c) sarcophagus placed directly over microscope objective to avoid sampling during metallurgical examination. d Polished section viewed under conventional light showing dendritic structure; superficial and intergranular cuprite corrosion appears red. The latter, when present, is considered a highly reliable indicator of an extended period of burial. (Images © The Metropolitan Museum of Art)

Related Figures (23)

Fig. 12.1 Ewer, Egyptian, Old Kingdom (ca. 2641-2100 B.C.). Hammered arsenical copper sheet with arsenical-enriched surface, H. 11.0cm. The Metropolitan Museum of Art; Gift of Edward Hark- ness, 1926 (26.9.13). a Condition in 1926 when acquired. b Condition in 1932 after electrochemical treatment. (Images © The Metropolitan Museum of Art)
Fig. 12.1 Ewer, Egyptian, Old Kingdom (ca. 2641-2100 B.C.). Hammered arsenical copper sheet with arsenical-enriched surface, H. 11.0cm. The Metropolitan Museum of Art; Gift of Edward Hark- ness, 1926 (26.9.13). a Condition in 1926 when acquired. b Condition in 1932 after electrochemical treatment. (Images © The Metropolitan Museum of Art)
Fig. 12.2 Osiris, Egyptian, el-Hiba, Third Intermediate Period, 21st-24th Dyn. (ca. 1070-712 B.C.). Solid cast bronze, traces of gilding, wood. H. 35.0 cm. The Metropolitan Museum of Art; Gift of the Egyptian Exploration Fund, 1903 (03.4.1 1a—d) The black surface is the result of a modern artificial patination process carried out after figure was cleaned of archaeological corrosion. (Image © The Metropolitan Museum of Art)
Fig. 12.2 Osiris, Egyptian, el-Hiba, Third Intermediate Period, 21st-24th Dyn. (ca. 1070-712 B.C.). Solid cast bronze, traces of gilding, wood. H. 35.0 cm. The Metropolitan Museum of Art; Gift of the Egyptian Exploration Fund, 1903 (03.4.1 1a—d) The black surface is the result of a modern artificial patination process carried out after figure was cleaned of archaeological corrosion. (Image © The Metropolitan Museum of Art)
Fig. 12.3, Long-necked Jar, Egyptian, from Tell Basta, Third Intermediate Period (ca. 1070-712 B.C.) Hammered silver sheet. H. 14.0 cm. The Metropolitan Museum of Art; Rogers Fund, 1907 (07.228.181); Department of Egyptian Art accession cards, showing condition when acquired in 1907 (left) and after treatment in 1919-20. (Images © The Metropolitan Museum of Art)
Fig. 12.3, Long-necked Jar, Egyptian, from Tell Basta, Third Intermediate Period (ca. 1070-712 B.C.) Hammered silver sheet. H. 14.0 cm. The Metropolitan Museum of Art; Rogers Fund, 1907 (07.228.181); Department of Egyptian Art accession cards, showing condition when acquired in 1907 (left) and after treatment in 1919-20. (Images © The Metropolitan Museum of Art)
Fig. 12.4 a “Repair Shop Wing B Room 135 Basement Floor,’ The Metropolitan Museum of Art, 1926. b Herbert E. Winlock, Egyptologist and later Director of the Metropolitan Museum, at the Museum’s expedition house in Thebes, consolidating a newly excavated coffin with wax. Still from archival film footage, 1924. (Images © The Metropolitan Museum of Art)
Fig. 12.4 a “Repair Shop Wing B Room 135 Basement Floor,’ The Metropolitan Museum of Art, 1926. b Herbert E. Winlock, Egyptologist and later Director of the Metropolitan Museum, at the Museum’s expedition house in Thebes, consolidating a newly excavated coffin with wax. Still from archival film footage, 1924. (Images © The Metropolitan Museum of Art)
Fig. 12.5 a Kneeling figure of Amasis. Egyptian, Late Period, 26th Dyn, reign of Amasis (570-526 B.C.). Solid cast bronze with precious metal inlay and leaf. H. 11.0 cm. The Metropolitan Museum of Art; Gift of Edward S. Harkness, 1935 (35.9.3). b Channels for the inlaid inscription on the front of the king’s kilt were chased in the wax model. ¢ Channels for a second inscription applied later to the reverse of the figure on the belt were cut directly into the metal surface. d Computed radiograph. (Images © The Metropolitan Museum of Art)
Fig. 12.5 a Kneeling figure of Amasis. Egyptian, Late Period, 26th Dyn, reign of Amasis (570-526 B.C.). Solid cast bronze with precious metal inlay and leaf. H. 11.0 cm. The Metropolitan Museum of Art; Gift of Edward S. Harkness, 1935 (35.9.3). b Channels for the inlaid inscription on the front of the king’s kilt were chased in the wax model. ¢ Channels for a second inscription applied later to the reverse of the figure on the belt were cut directly into the metal surface. d Computed radiograph. (Images © The Metropolitan Museum of Art)
Fig. 12.6 a Basin, Egyptian, Thebes, Assasif, New Kingdom, early 18th Dyn. (ca. 1550-1458 B.C.). Hammered bronze sheet, copper rivets. Dia. 44.6 cm. The Metropolitan Museum of Art, Rogers Fund, 1916 (16.10.436). b Detail with hammer blows associated with raising process. c Detail showing undulating edges associated with hammering. (Images © The Metropolitan Museum of Art)
Fig. 12.6 a Basin, Egyptian, Thebes, Assasif, New Kingdom, early 18th Dyn. (ca. 1550-1458 B.C.). Hammered bronze sheet, copper rivets. Dia. 44.6 cm. The Metropolitan Museum of Art, Rogers Fund, 1916 (16.10.436). b Detail with hammer blows associated with raising process. c Detail showing undulating edges associated with hammering. (Images © The Metropolitan Museum of Art)
Fig. 12.7 a Situla, Egyptian, Thebes, Asasif, New Kingdom, early 18th Dyn. (ca. 1550-1458 B.C.). Hammered unalloyed copper and bronze sheet, copper rivets, cast bronze handles. H. 25.3 cm. The Metropolitan Museum of Art, Rogers Fund, 1916 (16.10.435). b Detail with riveted seam between copper (below) and bronze sheets, showing hammer blows associated with the planishing process. (Images © The Metropolitan Museum of Art)
Fig. 12.7 a Situla, Egyptian, Thebes, Asasif, New Kingdom, early 18th Dyn. (ca. 1550-1458 B.C.). Hammered unalloyed copper and bronze sheet, copper rivets, cast bronze handles. H. 25.3 cm. The Metropolitan Museum of Art, Rogers Fund, 1916 (16.10.435). b Detail with riveted seam between copper (below) and bronze sheets, showing hammer blows associated with the planishing process. (Images © The Metropolitan Museum of Art)
Fig. 12.8 a Disk, Moche, from Loma Negra, Peru, 3rd cen. A.D. Hammered copper sheet with precious-metal plating. Dia. 28.2 cm. The Metropolitan Museum of Art, Bequest of Jane Costello Goldberg, from the collection of Arnold I. Goldberg, 1986 (1987.394.56). b Detail showing jux- taposed sheets of owl (a) and back plate (b), with precious-metal surface layers containing 79.8 gold and 20.2 % silver and 56.3 % gold and 43.7 % silver, respectively; the edges of copper sheet bearing the more gold-rich alloy were cut with a chisel. c Detail showing rectangular perforations characteristically used on Moche metalwork to suspend dangles from flat wires. d X-ray radiograph; tabs are used to attach body and legs of owl to the back plate (arrows), but the wings were left unsecured and flapped freely when the disk was moved. The three-dimensional head, suspended on arod mounted mechanically to the lower part of the owl’s body, also had free movement from side to side. (Images © The Metropolitan Museum of Art)
Fig. 12.8 a Disk, Moche, from Loma Negra, Peru, 3rd cen. A.D. Hammered copper sheet with precious-metal plating. Dia. 28.2 cm. The Metropolitan Museum of Art, Bequest of Jane Costello Goldberg, from the collection of Arnold I. Goldberg, 1986 (1987.394.56). b Detail showing jux- taposed sheets of owl (a) and back plate (b), with precious-metal surface layers containing 79.8 gold and 20.2 % silver and 56.3 % gold and 43.7 % silver, respectively; the edges of copper sheet bearing the more gold-rich alloy were cut with a chisel. c Detail showing rectangular perforations characteristically used on Moche metalwork to suspend dangles from flat wires. d X-ray radiograph; tabs are used to attach body and legs of owl to the back plate (arrows), but the wings were left unsecured and flapped freely when the disk was moved. The three-dimensional head, suspended on arod mounted mechanically to the lower part of the owl’s body, also had free movement from side to side. (Images © The Metropolitan Museum of Art)
Fig. 12.9 a Amun. Egyptian, Third Intermediate Period, early 8th cen. Solid-cast gold, with sepa- rately cast components. H. 17.5 cm. The Metropolitan Museum of Art, Gift of Edward S. Harkness, 1926 (26.7.1412). b SEM photomicrograph showing solder join (photo by Mark T. Wypyski). c SEM photomicrograph with showing porosity in solder (photo by Mark T. Wypyski). (Images © The Metropolitan Museum of Art)
Fig. 12.9 a Amun. Egyptian, Third Intermediate Period, early 8th cen. Solid-cast gold, with sepa- rately cast components. H. 17.5 cm. The Metropolitan Museum of Art, Gift of Edward S. Harkness, 1926 (26.7.1412). b SEM photomicrograph showing solder join (photo by Mark T. Wypyski). c SEM photomicrograph with showing porosity in solder (photo by Mark T. Wypyski). (Images © The Metropolitan Museum of Art)
Fig. 12.11 a “Lebanese Mountain” figure said to be Syria. beg. 2nd mil. B.C. Solid cast, unalloyed copper. H. 39.5 cm (with tangs). Ny Carlsberg Glyptotek, Copenhagen (2836). b X-ray radiograph, showing highly porous internal structure Images: Ny Carlsberg Glyptotek. c Composite archival photomicrograph of polished section. (Image © The Metropolitan Museum of Art)
Fig. 12.11 a “Lebanese Mountain” figure said to be Syria. beg. 2nd mil. B.C. Solid cast, unalloyed copper. H. 39.5 cm (with tangs). Ny Carlsberg Glyptotek, Copenhagen (2836). b X-ray radiograph, showing highly porous internal structure Images: Ny Carlsberg Glyptotek. c Composite archival photomicrograph of polished section. (Image © The Metropolitan Museum of Art)
Fig. 12.12 a Falcon sarcophagus. Egyptian, Macedonian-Ptolemaic Period (332-30 B.C.). Hollow cast leaded bronze, with falcon remains. H. 18.1 cm. The Metropolitan Museum of Art, Rogers Fund, 1925 (25.2.11). b Detail of X-ray radiograph, showing mottled texture associated with segregated lead phase, locations of core supports (a) and falcon bones (b). (Images © The Metropolitan Museum of Art)
Fig. 12.12 a Falcon sarcophagus. Egyptian, Macedonian-Ptolemaic Period (332-30 B.C.). Hollow cast leaded bronze, with falcon remains. H. 18.1 cm. The Metropolitan Museum of Art, Rogers Fund, 1925 (25.2.11). b Detail of X-ray radiograph, showing mottled texture associated with segregated lead phase, locations of core supports (a) and falcon bones (b). (Images © The Metropolitan Museum of Art)
Fig. 12.13 a Nose ornament with Decapitators and Human Heads, Peru, Moche, ca. A.D. 100- 300. Hammer-welded gold and silver sheet, H. 8.8 cm, L. 14.0 cm. The Cleveland Museum of Art. Severance and Greta Millikin Purchase Fund 2005.176 Photo: The Cleveland Museum of Art. b detail of cut-outs; note gold along edges of silver sheet and silver along edges of gold sheet as well as evidence of cutting using a chisel. ¢ X-ray radiograph of nose ornament, with radiotransparent cracks in silver sheet (a) and radiopaque restorations (b). d Sketch plotting caliper measurements of sheet thickness. (Images © The Metropolitan Museum of Art)
Fig. 12.13 a Nose ornament with Decapitators and Human Heads, Peru, Moche, ca. A.D. 100- 300. Hammer-welded gold and silver sheet, H. 8.8 cm, L. 14.0 cm. The Cleveland Museum of Art. Severance and Greta Millikin Purchase Fund 2005.176 Photo: The Cleveland Museum of Art. b detail of cut-outs; note gold along edges of silver sheet and silver along edges of gold sheet as well as evidence of cutting using a chisel. ¢ X-ray radiograph of nose ornament, with radiotransparent cracks in silver sheet (a) and radiopaque restorations (b). d Sketch plotting caliper measurements of sheet thickness. (Images © The Metropolitan Museum of Art)
Fig. 12.14 a “Cat sarcophagus.” 19th—20th cen. Hollow cast copper. H. 38.1 cm. The Metropolitan Museum of Art, Funds from various donors, 1958 (58.38). The figure, believed to be a forgery, seen after the removal of paint intended to disguise an unattractive, blistered surface and screw heads relating to major structural repairs. b SEM microphotograph showing acicular lead oxide crystals within copper dendrite matrix (photograph by Mark T. Wypyski). ¢ X-ray radiograph showing coarse, angular, radiopaque flecks associated with an interdendritic lead-rich phase. (Images © The Metropolitan Museum of Art)
Fig. 12.14 a “Cat sarcophagus.” 19th—20th cen. Hollow cast copper. H. 38.1 cm. The Metropolitan Museum of Art, Funds from various donors, 1958 (58.38). The figure, believed to be a forgery, seen after the removal of paint intended to disguise an unattractive, blistered surface and screw heads relating to major structural repairs. b SEM microphotograph showing acicular lead oxide crystals within copper dendrite matrix (photograph by Mark T. Wypyski). ¢ X-ray radiograph showing coarse, angular, radiopaque flecks associated with an interdendritic lead-rich phase. (Images © The Metropolitan Museum of Art)
Fig. 12.15 a Nose ornament, Moche, from Loma Negra, Peru, 2nd—3rd cen. A.D. Silver and gold sheet, W. 18.7 cm. The Metropolitan Museum of Art, The Michael C. Rockefeller Memorial Collection, Bequest of Nelson A. Rockefeller, 1979 (1979.206.1236). A gold lobster was applied to the silver substrate using tabs and slots. DT 9245.tif. b Reverse (Images © The Metropolitan Museum of Art)
Fig. 12.15 a Nose ornament, Moche, from Loma Negra, Peru, 2nd—3rd cen. A.D. Silver and gold sheet, W. 18.7 cm. The Metropolitan Museum of Art, The Michael C. Rockefeller Memorial Collection, Bequest of Nelson A. Rockefeller, 1979 (1979.206.1236). A gold lobster was applied to the silver substrate using tabs and slots. DT 9245.tif. b Reverse (Images © The Metropolitan Museum of Art)
Fig. 12.16 a Nose ornament, Moche, from Loma Negra, Peru, 2nd—3rd cen. A.D. Silver and gold sheet, W. 8.6 cm. The Metropolitan Museum of Art, The Michael C. Rockefeller Memorial Collection, Bequest of Nelson A. Rockefeller, 1979 (1979.206.1230). Gold spiders were applied to silver back plates set within a gold web. b Detail of X-ray radiograph showing sites of successful soldering (a), intact solder pallions (b), and solder paillions that melted in place (c). (Images © The Metropolitan Museum of Art)
Fig. 12.16 a Nose ornament, Moche, from Loma Negra, Peru, 2nd—3rd cen. A.D. Silver and gold sheet, W. 8.6 cm. The Metropolitan Museum of Art, The Michael C. Rockefeller Memorial Collection, Bequest of Nelson A. Rockefeller, 1979 (1979.206.1230). Gold spiders were applied to silver back plates set within a gold web. b Detail of X-ray radiograph showing sites of successful soldering (a), intact solder pallions (b), and solder paillions that melted in place (c). (Images © The Metropolitan Museum of Art)
Fig. 12.17 a Ear flares, North Coast, Peru, Ist cen. B.-C.—7th cen. A.D. Silver and gold sheet, Dia. of plugs (/eft and center), 5.2 & 5.3 cm. The Metropolitan Museum of Art, The Michael C. Rockefeller Memorial Collection, Bequest of Nelson A. Rockefeller, 1979 (1979.206.1175—1177). b Back-scatter electron photomicrograph of hammer-welded join between gold and silver sheet seen in polished section (photo by Mark T. Wypyski). ce Modern hammer welded gold-to-silver join (courtesy of Robert Baines, RMIT University, Melbourne). (Images © The Metropolitan Museum of Art)
Fig. 12.17 a Ear flares, North Coast, Peru, Ist cen. B.-C.—7th cen. A.D. Silver and gold sheet, Dia. of plugs (/eft and center), 5.2 & 5.3 cm. The Metropolitan Museum of Art, The Michael C. Rockefeller Memorial Collection, Bequest of Nelson A. Rockefeller, 1979 (1979.206.1175—1177). b Back-scatter electron photomicrograph of hammer-welded join between gold and silver sheet seen in polished section (photo by Mark T. Wypyski). ce Modern hammer welded gold-to-silver join (courtesy of Robert Baines, RMIT University, Melbourne). (Images © The Metropolitan Museum of Art)
Fig. 12.18 a Nose ornament frontal, Peru, Moche, from Loma Negra, Ist-3rd cen. A.D. Partially silvered gold, W. 21.0 cm. The Metropolitan Museum of Art, The Michael C. Rockefeller Memorial Collection, Bequest of Nelson A. Rockefeller, 1979 (1979.206.1226). An extremely thin layer of silver overlies the gold substrate in the fields surrounding the birds. b Photomicrograph of a polished section. (Images © The Metropolitan Museum of Art)
Fig. 12.18 a Nose ornament frontal, Peru, Moche, from Loma Negra, Ist-3rd cen. A.D. Partially silvered gold, W. 21.0 cm. The Metropolitan Museum of Art, The Michael C. Rockefeller Memorial Collection, Bequest of Nelson A. Rockefeller, 1979 (1979.206.1226). An extremely thin layer of silver overlies the gold substrate in the fields surrounding the birds. b Photomicrograph of a polished section. (Images © The Metropolitan Museum of Art)
granular in texture, and these were also identified using Debye—Sherrer cameras as AgAuS (Fig. 12.20). Gray particles within the red layers as well as gray tarnish films on electrum substrates were identified as Ag3;AuS, (analogous to uytenbogaardtite), also previously unknown in archaeological contexts. Heating gold—silver coupons with elemental sulfur in a low-oxygen environment produced red tarnishes also iden- tified with XRD analysis as AgAuS (Fig. 12.21). Similar tarnish films, also clearly fortuitous, were found on silver-rich gold artifacts from other ancient contexts. In addition, it was noted that red silver—gold sulfide tarnishes sometimes reformed in ambient display and storage conditions on gold surfaces from which archaeological sulfide corrosion had been removed earlier. Still, not all Egyptian red gold can be attributed to this corrosion process. A sub-
granular in texture, and these were also identified using Debye—Sherrer cameras as AgAuS (Fig. 12.20). Gray particles within the red layers as well as gray tarnish films on electrum substrates were identified as Ag3;AuS, (analogous to uytenbogaardtite), also previously unknown in archaeological contexts. Heating gold—silver coupons with elemental sulfur in a low-oxygen environment produced red tarnishes also iden- tified with XRD analysis as AgAuS (Fig. 12.21). Similar tarnish films, also clearly fortuitous, were found on silver-rich gold artifacts from other ancient contexts. In addition, it was noted that red silver—gold sulfide tarnishes sometimes reformed in ambient display and storage conditions on gold surfaces from which archaeological sulfide corrosion had been removed earlier. Still, not all Egyptian red gold can be attributed to this corrosion process. A sub-
Fig. 12.22 a Torso of King Pedubaste. Egypt, Third Intermediate Period, 23rd Dyn., reign of Pedubaste (ca. 818-793 B.C.). Museu Calouste Gulbenkian, Lisbon (52). b Detail of an iron core support, seen on interior of abdomen wall and corresponding radiograph. ¢ X-ray radiograph showing core support. d Detail of interior, showing iron armature imbedded in right leg. e Detail of patch on the reverse. (Images © The Metropolitan Museum of Art, courtesy of the Museu Calouste Gulbenkian, Lisbon)
Fig. 12.22 a Torso of King Pedubaste. Egypt, Third Intermediate Period, 23rd Dyn., reign of Pedubaste (ca. 818-793 B.C.). Museu Calouste Gulbenkian, Lisbon (52). b Detail of an iron core support, seen on interior of abdomen wall and corresponding radiograph. ¢ X-ray radiograph showing core support. d Detail of interior, showing iron armature imbedded in right leg. e Detail of patch on the reverse. (Images © The Metropolitan Museum of Art, courtesy of the Museu Calouste Gulbenkian, Lisbon)
Fig. 12.23 a Four-armed Avalokiteshvara, the Bodhisattva of Infinite Compassion, Thailand Prakhon Chai, Buriram Province, 2nd quarter of 8th cen. Hollow cast high-tin bronze, silver, and black glass or obsidian inlays, H. 142.2 cm. Rogers Fund, 1967 (67.234). b Gamma-ray radio- sraph of left leg showing armature embedded in casting core; irregular radiopaque patches at and above ankle can be attributed to fins formed on wall interior(s) where molten metal penetrated the Sore during casting. (Images © The Metropolitan Museum of Art)
Fig. 12.23 a Four-armed Avalokiteshvara, the Bodhisattva of Infinite Compassion, Thailand Prakhon Chai, Buriram Province, 2nd quarter of 8th cen. Hollow cast high-tin bronze, silver, and black glass or obsidian inlays, H. 142.2 cm. Rogers Fund, 1967 (67.234). b Gamma-ray radio- sraph of left leg showing armature embedded in casting core; irregular radiopaque patches at and above ankle can be attributed to fins formed on wall interior(s) where molten metal penetrated the Sore during casting. (Images © The Metropolitan Museum of Art)
Fig. 12.24 a Tripod, Cyprus, Late Bronze Age, ca. 13th-12th cen. B.C. Cast bronze, H. 37.5 cm. The Metropolitan Museum of Art, The Cesnola Collection, Purchased by subscription, 1874— 76 (74.51.5684). b Cold shut, and fins on surface reflecting lack of surface finishing after casting. c Cast-on repair, with corresponding radiograph. d Conflation of animal motifs, with corresponding radiograph. e Join with drip mark between band and strut in wax model reproduced in cast metal. f Details of radiographs of band; contours of relief motifs indicate that bands of wax model were produced using a replicative process; variation in thicknesses of the backgrounds reflects the use of a monovalve mold. (Images © The Metropolitan Museum of Art)
Fig. 12.24 a Tripod, Cyprus, Late Bronze Age, ca. 13th-12th cen. B.C. Cast bronze, H. 37.5 cm. The Metropolitan Museum of Art, The Cesnola Collection, Purchased by subscription, 1874— 76 (74.51.5684). b Cold shut, and fins on surface reflecting lack of surface finishing after casting. c Cast-on repair, with corresponding radiograph. d Conflation of animal motifs, with corresponding radiograph. e Join with drip mark between band and strut in wax model reproduced in cast metal. f Details of radiographs of band; contours of relief motifs indicate that bands of wax model were produced using a replicative process; variation in thicknesses of the backgrounds reflects the use of a monovalve mold. (Images © The Metropolitan Museum of Art)
Fig. 12.25 a Amphora handle, Late Bronze Age, ca. 13th—12th cen. B.C. Cast bronze, H. 37.5 cm. The Metropolitan Museum of Art, The Cesnola Collection, Purchased by subscription, 1874-76 (74.51.5685). b Detail showing untrimmed edges of appliqués that were produced in wax in molds and applied to a wax model, with corresponding radiograph. (Images © The Metropolitan Museum of Art)
Fig. 12.25 a Amphora handle, Late Bronze Age, ca. 13th—12th cen. B.C. Cast bronze, H. 37.5 cm. The Metropolitan Museum of Art, The Cesnola Collection, Purchased by subscription, 1874-76 (74.51.5685). b Detail showing untrimmed edges of appliqués that were produced in wax in molds and applied to a wax model, with corresponding radiograph. (Images © The Metropolitan Museum of Art)