Plaster cast of a memorial cross erected in honour of Fiak made by Giovanni Franchi and Son in London about 1866. The original was made about 930-1020.

Plaster cast of a memorial cross with a runic inscription which tells us that Thorleif erected it in honour of his son, Fiak, in the graveyard of Kirk Braddan, Isle of Man.

Cast of a memorial cross erected in honour of Fiak, made in plaster by Giovanni Franchi and Son in London about 1866 and purchased from Messrs Franchi & Son in 1866 for £3. The original was made in slate on the Isle of Man about 930-1020 and is housed in the Church of Kirk Braddan.

Making plaster copies is a centuries-old tradition that reached the height of its popularity during the 19th century. The V&A's casts are of large-scale architectural and sculptural works as well as small scale, jewelled book covers and ivory plaques, these last known as fictile ivories.

The Museum commissioned casts directly from makers and acquired others in exchange. Oronzio Lelli, of Florence was a key overseas supplier while, in London, Giovanni Franchi and Domenico Brucciani upheld a strong Italian tradition as highly-skilled mould-makers, or formatori.

Some casts are highly accurate depictions of original works, whilst others are more selective, replicating the outer surface of the original work, rather than its whole structure. Like a photograph, they record the moment the cast was taken: alterations, repairs and the wear and tear of age are all reproduced in the copies. The plasters can also be re-worked, so that their appearance differs slightly from the original from which they were taken.

To make a plaster cast, a negative mould has to be taken of the original object. The initial mould could be made from one of several ways. A flexible mould could be made by mixing wax with gutta-percha, a rubbery latex product taken from tropical trees. These two substances formed a mould that had a slightly elastic quality, so that it could easily be removed from the original object. Moulds were also made from gelatine, plaster or clay, and could then be used to create a plaster mould to use for casting.
When mixed with water, plaster can be poured into a prepared mould, allowed to set, and can be removed to produce a finished solid form. The moulds are coated with a separating or paring agent to prevent the newly poured plaster sticking to them. The smooth liquid state and slight expansion while setting allowed the quick drying plaster to infill even the most intricate contours of a mould.
Flatter, smaller objects in low relief usually require only one mould to cast the object. For more complex objects, with a raised surface, the mould would have to be made from a number of sections, known as piece-moulds. These pieces are held together in the so-called mother-mould, in order to create a mould of the whole object. Once the object has been cast from this mother-mould, the piece-moulds can be easily removed one by one, to create a cast of the three-dimensional object.

Manx

The runic inscription on the cross tells us that Thorleif erected it in honour of his son, Fiak. After the First World War, the cross became the basis for the design of many war memorials on the Isle of Man. However, carved crosses from the island had been considered an important survival of late Viking art long before then. Museums across Britain had made casts of them from as early as the mid-19th century.

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