Objects of Low Relief

Now in October it was time to explore more objects from the museum collection. In this next handling session Curator Julian introduced and explained to the group an interesting selection of artefacts, local and international in origin. Although very different in material and purpose these objects shared a particular character, which demonstrated types of relief design, both handcrafted examples, and those and produced using manufacturing technology.

The group examined and discussed the relating qualities of surface designs on the objects.

Carved slate made by Boer P.O.W

This carved slate artwork in an ornate wooden frame was donated to the museum in 1919. The slate has been carved to create a relief design depicting a coat of arms with the blazon of ‘the ZAR’ (Zuid-Afrikaansche Republiek), and the accompanying documentation states that the piece was made in India by a Boer prisoner of war during the South African War. The maker has formed the emblem design into a low relief by removing the ground area and then adding lightly carved detail to the raised areas.

This object is historically interesting as it informs us that during the South African War of 1899 – 1902, Boer prisoners of war captured by the British were transported from South Africa to other parts of the British Empire. Subsequent research suggests this was a tactic employed to prevent the escape and return to combat of the Boer fighters and to reduce the moral of the Boer people. Families were separated and Boer woman and children were interned and remained in British concentration camps in South Africa, as too were many thousands of indigenous African people.

Another handcrafted object studied was a Buddhist prayer wheel constructed of copper formed into a cylinder and mounted to a wooden handle. The outer side of the cylinder has a prayer inscribed on the surface in a relief design, produced by a ‘chasing’ technique where the maker uses a hammer and chisel to indent the copper surface to produce raised surface areas.

Although the provenace of this object is unknown, it is believed to be Tibetan in origin; as these prayer wheels are widely used in Tibet and by Tibetan communities, and it dates to the late 19th century.

Ray studying the detail of the prayer wheel

Cast iron relief figure

This cast iron figure introduced a different method of producing a relief design detail. Again the precise history of this object is unclear but it is suggested that it dates from early to mid 19th century. The design depicts a robed figure leaning on their elbow upon a classical column with head in hand. Much of the detail has been lost through past corrosion and abrasion.

This object was mass produced and marketed as a decorative object for the home.

It was most likely made using the sand casting technique, this process would involve a mould of the object being produced then molten iron poured into he mould and left to set. When the mould was removed, a solid iron form of the mould detail has been produced. To first make the mould a representation of the object would need to be produced, this was most likely to have been carved from wood. This wooden form, known as a ‘core’ would be placed into a casting box and a mixture of sand and clay, ‘green sand’ would be packed firmly around it. The ‘core’ would then be removed, (the mould made in two halves if necessary) leaving a void, which was then filled by the molten metal. The core could be used to make multiple moulds at one time in order to facilitate a production of the cast object.

Casting techniques have existed for thousands of years and this object dates from around 175-250 AD. This cast clay tile was excavated from the site of the Roman iron works, which was located north of Hastings, now the site of Beauport Park. The tile is part of a bath house building and forms part of a collection of excavated items from the site which is currently under academic research.

The iron works in Hastings was operated under the control of the Classis Britannica, the naval fleet of Roman Britain and many of the excavated pieces have the CLBR lettering cast into the clay.

Roman clay tile 175 - 250 AD excavated near Hastings

However, of particular interest of this tile studied in the session is an accidental impression made in the clay. A child’s foot has made an indentation in the soft clay before it was fired hard in the kiln. This unintended detail evidence suggests that families were living at the site during the site construction and iron production period.

Impression of a child's foot in the cast clay tile

To further explore and understand the relief casting process, the following workshop sessions were an opportunity for participants to create their own cast objects. Project lead Colin Heminway guided the group through the process of making a low relief tablet using clay as the mould base and plaster of Paris as the casting material.

First a ball of clay was rolled into a flat sheet and trimmed into a rectangle or square shape, this became the mould base. Using a selection of found materials and objects provided, participants were encouraged to create their own designs by pressing the items into the clay then removing them to form an impression.

Impression of objects in clay to form a mould

Rolling the clay flat to make a mould surface

A cast setting in the tray and a second mould being prepared

When the compositions were complete further strips of clay were attached to the side of the base to form a contained structure. Next, casting plaster was dissolved in water to form a slurry which was poured into the mould. Once the plaster had hardened the clay was carefully removed and the casting revealed.

Clay mould removed from plaster casting

By the end of the workshop the participants had successfully created cast forms adorned with accomplished relief designs, with skilful composition and design details.