Excursions in Art and LettersStory, William Wetmore
History
Excursions in Art and Letters
Story, William Wetmore
Arts
That statues were modeled in plaster by the ancients there is no doubt.
Pausanias mentions several;[19] and Spartianus[20] also speaks of
“Three Victories” in plaster, with palms in their hands, erected at
one of the games,—and says that on one of the days of the Circensian
games when according to common custom they were erected, the central
one on which the name of Severus was inscribed, and which bore a globe,
was thrown down by a gust of wind from the podium, and that another
bearing the name of Geta on it also fell and was shattered to pieces.
Firmicus[21] also relates that after Zagreus, son of Jupiter, was slain
by the Titans, his body was cut to pieces and thrown into a cauldron,
from which Minerva rescued the heart and carried it to Jupiter. He then
gave it to Semele, who resuscitated Zagreus, and Jupiter afterwards
preserved his likeness in plaster,—“Ex gypso plastico opere perfecit.”
Mr. Perkins cites all these instances, and says: “They authorize us
to believe that the Greeks and Romans practiced casting in plaster.”
But in saying this he altogether overlooks the very plain distinction
between the two entirely different operations of casting and modeling.
We know that they modeled in plaster; the only question is whether they
_cast_ in that material. The term for casting, as we have stated, was
“fundere,” and is always used when real casting in brass or other metal
is spoken of; but nowhere is the term “fundere” applied to any work
in gypsum. “Ars fundendi æro” is constantly spoken of,—“ars fundendi
gypso” never. Besides, the very phrase “ex gypso plastico opere
perfecit” is at variance with casting. The words “plastico” and “opere”
mean modeling, and nothing else.
But throughout this paper by Mr. Perkins these two completely distinct
processes are constantly confounded with each other. It suffices for
him to find a statement in an ancient writer that anything is made in
plaster, or even an allusion to a plaster statue, and at once he jumps
to the conclusion that the statue was necessarily cast, and not shapen
or modeled.
Public-domain text, read in full here on John Shaqi.
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