3. Literary memoranda of characteristics, e.g., dimensions, subject, etc.
1. Mechanical Reproduction.
(a) Photography.—This subject has already been dealt with in Part II., and it is only necessary here to add a few hints, peculiarly applicable to the photography of objects of antiquity.
Of inscriptions photography does not, as a rule, supply a useful reproduction, and unless time or other opportunity be wanting, it should not be the only mechanical process applied. If an inscription is at all worn, or the material on which it is engraved contains superficial faults, do not rely on a photograph; but if one is taken, try to dispose the object so that light falls on it from one side, with a slight obliquity from above. In the case of rock inscriptions or others still in their place on walls, etc., a photograph should be secured to show relative position and surroundings. An inscription on dark material will often need preparation with white chalk before being photographed to any good purpose; but the traveller who has opportunity to do that, will probably have equal opportunity to employ the better process of moulding.
For sculpture, photography will often be the only method of reproduction possible to the traveller. When that is the case he may be advised (1) to take his photographs on the largest possible scale; (2) to take the object from all possible points of view; (3) to do what he can to improve the light and relief of the subject. Small objects gain enormously by reflected lights carefully arranged to bring out their contours; if sufficient mirrors are not obtainable, strips of tin or even white paper will serve as reflectors. Backgrounds may be chalked or blacked as the case may be, but in the case of a relief this should only be done when the outlines are very clear. If a sculpture on rock or other material is much broken or worn, a good mechanical method of improving relief, which Professor Petrie recommends, can be used; this consists in dusting the face with powdery sand and then fanning it. The result, if carefully done, is to leave hollows and background in strong contrast to the surface of the relief. Highly polished or lucent surfaces should be dulled before photographing. Metal objects do not, as a rule, photograph very satisfactorily; and of coins it is much better to take a cast and photograph that. Perhaps it is not superfluous to remind the photographer to make notes of all colouring before leaving his subject. On preparing sculpture, etc., for photography there are valuable practical hints in Professor Petrie’s ‘Methods and Aims in Archæology,’ Chapter VII.
For small objects of antiquity, photography is not of much service unless a camera with very long extension can be used. If it be possible, the best way is to lay the objects on a sheet of glass raised about a foot from the ground on a frame, and arrange the camera above, so as to photograph downwards. This process obviates all ground shadows, and all pins or other supports for the objects, which appear sharply on the negative as if suspended in air.
For buildings photography is, of course, the only method of mechanical reproduction possible.
(b) Moulding.—This in almost all cases will have to be done by impressing paper. Only in the case of small objects will a traveller ordinarily be able to use either plaster of Paris (if he can procure it) or sealing wax. As to the latter he may be reminded never to heat his wax by putting it in direct contact with a flame, or the impression will come out so parti-coloured or black as to be of little use; a card should be held over a candle or lamp, or, better, a spirit burner, and the wax rubbed upon the gradually heating upper surface till enough has melted on to the card without boiling. A useful impression may be obtained of coins, gems, etc., by pressing ordinary tin foil upon the surface; but great care must be taken afterwards that the impression does not get flattened out in transport. Mr. Petrie recommends floating impressed foil on water face downwards, and dropping hot wax upon it, as a solidifying agent.
As to the use of plaster of Paris it may be remembered that (1) the proper mixture is just as much plaster as will absorb the water, leaving none standing on the top; (2) the object must be well cleaned and soaped before being moulded; (3) the plaster must be applied very rapidly, in a thin coating all over the object at once: it can be backed with more plaster afterwards; (4) a surface of any size should either be moulded in sections, or, if done all at once, the plaster will probably have to be cut into sections afterwards for transport. To cut it, it is best to lay strings upon the object before moulding, which, later, can be pulled up through the plaster while still viscous.
Paper moulding or ‘squeezing’ is, however, the ordinary process employed. Any fairly strong unsized paper will serve more or less well, but a special ‘squeeze’ paper is procurable in most large cities where there are archæological museums (e.g., in London, from Nutt’s, 57 to 59, Long Acre, W.C.; in Paris, from Moreau’s, 11, Passage du Pont Neuf; in Berlin, from Ebers Brothers. It can also be got direct from the maker, Papierhändler Dorr, Spiesgasse, Strassburg.) Mr. Maudslay recommended in a previous edition a hand-made paper, used for packing oranges in Spain, and to be obtained of Messrs. Batalla, of Cacagente, near Valencia, through the agency of Messrs. H. King & Co., Cornhill. Failing these, the paper on which the commoner news-sheets are printed will do. The other implements needed are a sponge, and close-bristled, not very hard, brushes of two or three sizes, e.g., an ordinary clothes-brush, a nail-brush, and a tooth-brush, if no others are at hand, but special brushes with hand-straps on the back, or curved handles to keep the knuckles of the beater away from the stone, are preferable. In the case of an ordinary inscription, of not specially rough or uneven surface, brush and clean the stone thoroughly, and pick all accumulation out of the letters; then wet it thoroughly all over; lay the dry paper, cut to size, as flat on the surface as possible, and dab it down with a very wet sponge till thoroughly soaked; take the largest brush and pound the paper rather gently all over, till it partially adheres; then take smaller brushes and work the paper into all depressions with the maximum pressure you can exert; finally, hammer it with the large brush again, working systematically from top to bottom or side to side, not minding the surface becoming mashed, and driving the air-bubbles, which collect under the paper, before you and out at the farthest point. If the stone was thoroughly wetted before the paper was laid on, these ought not to be numerous or troublesome. Then, if the surface of the stone has penetrated through the paper at any point, lay a second sheet and, if necessary, a third, or more, and treat as the first was treated. Leave the sheets, if possible, to dry on the stone, and all will come off as one with a perfect reverse impression of the stone’s surface. Some soak the paper before laying on the stone, but if that is done and there be any wind, the paper, become very tender, will be apt to tear with its own weight while being laid on, and will be difficult to lay flat. If for any reason, e.g., overhanging of the stone’s face, it is difficult to make the paper adhere, the task will prove easier with small pieces. But whenever a surface is squeezed by sections, the operator must be careful to make the edges of his sheets overlap, so that later all can be gummed together as one sheet; to number the sheets according to a key-plan, recorded in his note-book, and to mark on the sheets themselves the lines of junction. All superfluous edges should be peeled off, as they are apt to lift in the wind and cause all or a part of the impression to become detached before it is well set, and weights should, if possible, be laid on the drying paper. If for any reason the paper cannot be left to dry in position, peel off carefully and lay out to dry reverse side uppermost. The impression, so taken, will be hardly less good. When dry, roll the squeeze inside a tin cylinder, and only very rough usage will harm it.