Plaster cast of a tomb effigy of an unknown knight (probably William from the de Ros family). The cast was made in London in 1853. The original was made about 1325-30.

Plaster cast of a tomb effigy of an unknown knight (probably William from the de Ros family) with the de Ros coat of arms on the shield.

Given by the Trustees of the Crystal Palace

Copy of a tomb effigy of an unknown knight (probably William from the de Ros family) made from plaster in London in 1853 and was given by the Trustees of the Crystal Palace in 1938. The original was made about 1325-30 and is from the Temple Church, London. The original was damaged during the Second World War, but the cast shows the effigy prior to this damage.

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.

The arms on the shield tell us that the original effigy was made for the tomb of a knight from the de Ros family, most probably William who died in 1316. The effigy was damaged alongside others when a bomb hit Temple Church during the Second World War. Fortunately this and similar effigy casts in this gallery had been made almost 100 years before. They provide an important record of the historic sculptures.

REPRO.A.1938-10