Wax sculpture
When molten, it is highly responsive to impressions from a mold and, once it sets and hardens, its form is relatively resilient against ordinary temperature variations, even when it is cast in thin laminae.
"[3] Figures in wax of their deities were used in the funeral rites of the ancient Egyptians, and deposited among other offerings in their graves; many of these are now preserved in museums.
The closing days of the Saturnalia were known as sigillaria, on account of the custom of making, towards the end of the festival, presents of wax models of fruits and waxen statuettes which were fashioned by the Sigillarii.
[1] The display of temporary or permanent effigies in wax and other media of the deceased was a common part of the funeral ceremonies of important people in European historical times.
The museum of Westminster Abbey has a collection of British royal wax effigies, as well as those of figures such as the naval hero Horatio Nelson, and Frances Stewart, Duchess of Richmond, who also had her parrot stuffed and displayed.
[4] Nelson's effigy was a pure tourist attraction, commissioned the year after his death in 1805, and his burial in St Paul's Cathedral after a government decision that major public figures should in future be buried there.
This practice was considered more effective when some portion of the victim's hair or nails were added to the wax figure, thus strengthening the connection with its actual subject.
The Museo Nazionale del Bargello in Florence has the only surviving wax modello by Benvenuto Cellini, 'Perseo con la testa di Medusa' (inv.
Antonio Abondio (1538–91) pioneered the coloured wax portrait miniature in relief, working mainly for the Habsburg and other courts of Northern Europe, and his son Alessandro continued in his footsteps.
The anatomy room also displays a series of figures by Ercole Lelli and a copy of Florentine Clemente Susini’s once famous Medici Venus.
This was the case of Jean-Pierre Dantan, or David d'Angers, for example, the latter even belonged to the Société phrénologique de Paris founded by François Broussais in 1831.
Among the major wax works of the period are Paul Gauguin's portrait of his daughter Aline (1881, musée d'Orsay), and a 125 cm high self-portrait of Jean-Joseph Carriès (Petit Palais).
Other famous wax modellers included Richard Cockle Lucas, Jules Dalou, Medardo Rosso[13] or David d'Angers.
[15] Wax flower and fruit sculptures were popular in the 1840s and 1850s in Britain, with noted sculptors including the London-based Emma Peachey and the Mintorn family.
For example, Gavin Turk had his portrait made as Sid Vicious ("Pop", Waxwork in vitrine 279 x 115 x 115 cm, 1993), Jan Fabre as a notorious thief (homage to Jacques Mesrine (Bust) II, 2008.
Eleanor Crook’s bronze sculpture Santa Medicina in London’s Science Museum has a wax “patient” modelled at half life size sheltered in a vitrine within its robes.
