Sachgebiete

Beschreibung:

III; 74 S. Text und 48 Tafelseiten mit s/w-Illustrationen; fadengeh., illustr. Orig.-Pappband.

Bemerkung:

Gutes Ex.; Einband etwas berieben. - Englisch. - Aus d. Bibliothek von Hans J. Koloß / Völkerkundemuseum Berlin. - ... But, apart from this form of object, beaten-brass shapes were used in combination with cast ones to form lamps (as can be seen in Plate XXXIV) and also to decorate wooden objects. Certain wooden objects, such as the head in 129 (Plate XXXIX) and the kola-nut boxes (48 and 45, Plates XXIII and XLIV), were made by the carver and then sent to the brassworker, who decorated them with brass shapes beaten to the surface of the carving and held in place with copper rivets. A number of armlets in the exhibition are made of a beaten-brass strip bent round and held in shape by copper rivets. One or two examples of such armlets show that repairs have been made by riveting in a new piece of beaten brass. A striking skill of the Benin brass-worker was the inlay of cast copper forms in bronze. For example, the rectangular bell, 162, has mud-fish forms of cast copper set in the main body of the object. Similarly, a copper strip is to be seen decorating the nose of the pendant mask (239, Plate XXII). These copper forms were set in the wax model before pouring. Similarly, iron nails were frequently set in the wax model of pendant masks, such as the aforementioned one, and in memorial heads to act as pupils of the eyes in the cast object. Another technical variation sometimes employed by the brassworker was to cast on iron. The legs of the fine bronze cock (76, Plate X) had iron rods as armatures for the clay core, and the two large figures in the round of kings, 103 (Plate XXIV) ? (S. 21)