A Japanese lantern for Clingendael Estate

An old Japanese lantern

Japanese Garden Clingendael

Japanese Garden of Park Clingendael. Photo by Takeaway – own work, CC BY-SA 4.0

You'll probably know them: the granite lanterns adorning Japanese gardens. I didn't know this, but even in the Netherlands, we have wonderful Japanese-styled gardens. Actually you can't really call them Japanese Gardens, because the criteria for these are apparently very strict. Rule no. 1 is as I believe that it should be located in Japan, and that just won't fit inside The Netherlands. Anyway, in The Hague, specifically in the grounds of ​​Clingendael Estate in Wassenaar, there is also a Japanese garden. A very beautiful one, that was created around 1915 and only opens for 8 weeks per year. To save the moss.

Copying in Bavarian granite

blocks of Flossenburger granite gray-yellowAround the time of the construction of the garden, its owner imported a number of granite lanterns for her garden. Among them was a seemingly primitive Japanese lantern, made in Shirakawa-granite. It weathered rather quickly however, and was restored a number of times over the years. And then in May 2017 I was approached by Raymund Bervoets of Restauratie Breda, who asked me what it would cost to have a copy carved in Bavarian granite.

The lantern consists of five parts: the base, the shank, the fire chamber, the roof, and the cap. Typically, all the parts are loosely stacked onto each other, but in this one, because of all the repairs, several parts were glued together. Its base had gotten lost over time, perhaps it had weathered and been done away with, so at one time a composite cast piece was made.

Chrysanthemum themed

reconstruction of the shank and fire chamber of the lantern on the sawing machineUsually Japanese lanterns look very different. For starters they haven't got 20 but 16 lobes, and thus get to bear the title 'Imperial'. Also, base and shank will be carved much more clearly. But the common element was that the roof of the lantern consisted of chrysanthemum petals. Perhaps this was a somewhat more rustic version of an official lantern?

Raymund had done a lot of research into the right shapes for this lantern. On this basis, a plan was drawn up for copying. We needed a new design for the base, with, just as the roof and the shank, has 20 lobes. The shank was supposed to get a bit of a tummy. The fire chamber had deepened 'edges’ so that a small window frame with rice paper could be put in. The roof had to get 20 chrysanthemum leaves just as the original had, but sharper and fuller, and the cap had to go get a tip. And everything was supposed to get a hand-carved character.

Of course, no problem! You ask, we run.

Getting to work

presawing granite shank piece on sawing machineBureaucratic mills never grind very quickly and certainly not in The Hague, but at the end of 2019 I got the green light and I could start reconstructing the lantern and then copying it in Flossenburger yellow-gray granite. With plaster I completed the five components, cut out the major shapes on my presawing machine, and carved the copy just as irregular as its original. Many details were deteriorated quite badly, so I had to bring them back a lot sharper in the copy.

Carving the base of the lantern

Lantern base in granite completedThe base was supposed to be partly covered in earth, and a layer of soil was to cover it. I thought it best to also shape the underground part with a hand carved finish. Of that, I made a short film. Carving granite with a chrome vanadium chisel is not easy! Only at the end I realized that I had a carbide (tungsten) point chisel lying around somewhere. That proved to go remarkably easier. In the first chisel, its tip was blunt after just a few hits, but with the carbide chisel, I could keep carving for a long time. I was afraid that the tip of the chisel would shatter at the first blows, but it all went without any problem.

A special way of experiencing a Japanese lantern

The Japanese garden in Wassenaar is actually too popular to let everyone experience it in peace. If there would have been access to the garden all year round, the moss would not survive the many photo sessions. Therefore, it is only accessible to the public for eight weeks a year. But not everyone keeps to that rule! It has happened a number of times that uninvited visitors entered the garden at night and went frolicking about with lanterns. Since all the parts are stacked loose, several times, parts have ended up in the pond.

Jam jar and cap

lantern in Japanese gardenFor that reason, we discussed how we could make the copy more stable. The result was that I was to make a kind of jam jar structure for each component. On top of the lower part, I would make a raised edge, and the portion above that was to receive a cavity that just fits over the lip. Like the cap of a jar.

As a result, the stack will no longer be easy to shift, but can still be lifted. That's why we've also applied a flexible adhesive between the parts during installation. In this way the components can always be removed someday, with some precaution, but they are anchored better in case someone wants to throw the thing over.

Gallery

-Click on a picture for an enlarged view-

Beeldhouwerijblog.nl is the blog of Koen van Velzen, sculptor in stone and bronze. Look up my website as well: beeldhouwerijvanvelzen.nl

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Statue of Pope Leo the Great, part two

located in the joint face are two stainless steel pins of 20 mm. Statue of Pope Leo the Great

1 Statue in two parts

the top- and lower part of the statue of Pope Leo the Great are presawnWork on the statue of Pope Leo the Great proceeds much more smoothly than I expected. When I explained to the committee and to my colleagues about my plan for carving of the statue out of two parts, most of them thought it was quite a bold approach. Because the statue needs to be carved from two parts, as I explained before in the previous article and the article on the similar statue of Thomas Aquinas.

In the original statue, the layers were used vertically, but for the copy it's desired that the layers run through the statue horizontally. Since there are no blocks of Udelfanger sandstone available that are tall enough, it has to be made out of two pieces. Where would you put the seam? An initial proposal was to split it at the top and bottom of the statue, below the line of tufts of its outer garment, plus another one in the crown. I myself proposed to follow the seam of the garment, along the bottom line of the cross on his chasuble.

Finding out the way the statue sits first

The rough carving of the torso of the statue of Pope Leo the GreatNow I can't just stick the two pieces together after the presawing. Firstly, there is a lot of surplus material on both parts at the spot of the joint plane. Secondly, there would be two versions of a hand holding a book. The book needed to be removed on the upper part, because that piece sits behind the book. I also couldn't reach all parts with my presawing machine such as behind the book. So I had to partly carve both parts just to see how it all fits.

Determining the joint plane

upper- and lower body carved far enough to fit the two parts togetherThe seam doesn't run through the statue in a straight line, but is rather curved. The difficult part is on the one hand to get the bend the same in both parts. It has to fit exactly and the lines of the robe should connect nicely. On the other hand, there is a fragile point near both shoulders, where the stone is not perpendicular to the outside, but will form a thin wedge. In this place I had to be extra careful that I don't break anything off by accident.

Lifting and lowering

First fit of the state is promising.Once I had determined the line of the chasuble on both parts I could start chiselling away the excess stone. I suspended the head from the hoist with two thin straps that I had tied in the correct position. Then it became a matter of lowering, looking where it didn't fit, hoisting, adjusting, and back down again, and repeat, until it was just right. I had made the lower part of the statue of Pope Leo the Great a bit narrower at the top, so that the upper body fitted over it as a lid. The picture shows an early stage; it doesn't fit properly yet here, because there are still slits at the shoulders.

Putting in the anchoring

located in the joint face are two stainless steel pins of 20 mm. Statue of Pope Leo the GreatFor a really strong connection between the two parts to I inserted two anchor rods of 20 mm thick stainless steel wire ends. Now the two bars have to fit very well inside the two parts and cannot disturb their alignment. It is therefore important that they are exactly parallel. Also, the holes in the two parts should be perfectly superimposed and aligned. You always need to be careful when drilling! When the four holes were to my liking and Ifound that the alignment was still the same, I bonded the two pins with epoxy . Then the two pieces were stuck tightly together, but there was still some space in the joint plane. It is almost impossible to make it so that these are less than a millimeter away from each other.

Pouring the mortar

two part statue of Pope Leo the Great in Udelfanger sandstone: pouring the seam with restoration mortar

But in this case that space worked in my favor. Besides the four holes for the pins I had drilled an extra hole, which ended up in the neck of the statue of Pope Leo the Great. I still had a bucket with Jahn grout that I could use for this case. First I thoroughly soaked the statue and especially the joint, so that it wouldn't dry out the mortar too soon and then not fill the entire cavity.

the white grout in the pouring bowlThen I took some modeling clay and closed up the seam almost completely . Only at the shoulders, I left a small hole. These were the highest points, so that was where air could become trapped. Then I modeled a bowl for pouring in the neck of the Pope. The final steps were simple: mixing up the grout, casting until the shoulders began to leak, closing up the shoulders and continuing to pour until that bowl was full. After a few days, the seam was closed perfectly: porous enough, but sturdy and well connected. Finally, I sealed up the edge of the tiny seam with restoration mortar for Udelfanger sandstone, so you can't see anything of it anymore.

Shaping

beginning with detailing the head and the crownAnd the rest is simple enough: just carving a copy of how the original looks. I work from top to bottom and have now reached the beard. I've had a lot of work on the crown and the cross, in getting it all nice and tight. Yet there is still a lot of work left, but that all comes later. For now I am very happy anyway that everything fits beautifully and that it worked out fine without any damages.

Gallery

 

detailing the beard and face

detailing beard and face

Read the work of this In the next article.

Beeldhouwerijblog.nl is the blog of Koen van Velzen, sculptor in stone and bronze. Look up my website as well: beeldhouwerijvanvelzen.nl

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Presawing Pope Leo the Great

Pope Leo the Great upper body

Another saint's statue

stained glass window of Pope Gregory

Pope Gregory looked suspiciously like Pope Leo

stained glass window with inscription Gregor . Magn.

But the name of this pope is at the bottom of the window: Gregorius Magnificus

As you might remember I copied the statue of Thomas Aquinas for St. John's Cathedral earlier this year. That statue has now been installed and I could move right on to the next one: Pope Leo the Great. It's a one hundred year old statue of a bearded man with a tiara, a book and a Byzantine cross. At first I thought it represented Pope Gregory the Great in stone, because the stained glass window behind the statue shows a similar Pope: also with a book and a Byzantine cross and tiara, but without a beard and with a dove.

Attila the Hun

Cracks in the face of the statue of Pope Leo

weathering traces in the face

But it turned out that I was mistaken after all, partly because the console of this statue shows Attila the Hun crouching. In the year 452 the Hun Army was camped near Lake Garda, with plans to attack Rome, but Pope Leo visited him and talked it out of his head. Talk about power of persuasion. Pope Gregory only came a hundred years later.

Weathering process

robe of the statue of Pope Leo has weathered

disappeared folds in the garment

The two statues of Thomas Aquinas left in a crate headed for Den Bosch, where the new statue was placed on the church and the old statue was put in the museum. By return mail I received the old statue of Pope Leo back. On my scaffolding visit I noticed that the statue still had almost all its details, but the stone wasn't in a very good condition.

Just like Thomas, the statue was made of Udelfanger sandstone. The material has been applied vertically at the time, and that has had an impact on the weathering: vertical traces of watering and the disapperance of a number of folds of his garment. The statue also shows serious exfoliation on the back and if nothing happened now you'd have a chance that in a decade many details will be much stronger affected, which would make it very difficult to make a proper reconstruction of it.

Vertical layering

foot of the statue of Pope Leo the Great

crumbled pleats

As I explained in the first article about the statue of Thomas Aquinas it's not desirable to have the stone's layers run vertically through the statue. But it is not always possible to avoid that. In the quarry, the thickness of the right layer is not more than about 120 centimeters, and the statue is at least 150 cms tall. Over a hundred years ago they picked a horizontal piece of stone for that reason and put it straight up. This is known as standing layering. But this time I need to make a statue, in which the layers run horizontally. That can only happen if I make this statue out of two pieces. A body out of one piece, and a piece with the head and shoulders.

Presawing

presawing the new statue, step 2

presawing the lower part, step 2

I had already had some blocks of stone lying in the yard: a remaining piece of the Thomas torso and the second half of the block from which I've presawn Serge's angel. Those two pieces were not mine, but they belonged to St John's. After consultation it was decided that I could use these two blocks for this statue. I started reconstructing the missing parts with plastiline clay. Next up was the presawing of the lower body, in three steps from coarse to fine. This was followed by the same process for the upper body.

Next step

presawing head of the new statue, step 2

Presawing the shoulders and head, step 2

After this will come the rough carving of the two pieces, at the point where the seam should be. The plan is to follow the lower line of the cross on the chasuble of the pope. It will be a rather difficult job! Read more on this interesting challenge in the next article about this statue.

presawing the new statue, step 3

presawing lower body ready

Beeldhouwerijblog.nl is the blog of Koen van Velzen, sculptor in stone and bronze. Look up my website as well: beeldhouwerijvanvelzen.nl

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Year review of 2019

250th blog post

2019 was a great year! I've had all sorts of things in progress, among which a lot of ornaments for the Utrecht Cathedral and the Eusebius Church in Arnhem. Time for an annual review of 2019.

Blue sodalite

woman in blue stone Not everything I've done this year has been published on my blog. For instance, I carved a few things for other sculptors. One was a large sculpture in blue sodalite, of a stylized lady. I copy-sawed the plaster maquette into the new stone and then carved and polished it. This material is difficult to work in, but it has an overwhelming color. I'm sure once installed in the right place, it will make a big impression. Through all those vivid colors it becomes hard to see its shapes in my photo, but upright and under good lighting conditions (not under my roof with subdued light) it will be easier to recognize the shapes. Since it was made for another sculptor, I made no mention on this blog at the time. I did though in a blog post show how I cut the block to size with a chainsaw.

Holocaust Monument

The painting in of the details in the crack

One of those projects for another sculptor was a small job that I did last week for Gerard Overeem in granite: the carving of a crack in a Monument to the Holocaust. The crack represents the suffering caused by the persecution of the Jews that has left its traces. Read here↑ the corresponding newspaper article. In an earlier newspaper article more information about the monument. It is to be unveiled on 27 January 2020 in Barneveld.

Thomas Aquinas

copy of statue of Thomas Aquinas beside reconstructed original

The copy of the statue of Thomas Aquinas was a project that almost took this entire year. In November 2018 I received the original sculpture in my yard and started with its reconstruction, in March 2019 I cut the block of Udelfanger sandstone to size and I started presawing. I also started enthusiastically on the rough carving of the two parts and fitting the pieces exactly together, but suddenly all kinds of commissions came and interfered before in October 2019 finally I was able to finish the statue.

Pope Leo the Great

presawing the upper body of Pope Leo in sandstone presawing the lower body of Pope Leo in sandstoneAfter I had shipped this statue, I could skip ahead to the next statue for St. John's Cathedral in 's-Hertogenbosch: Pope Leo the Great. At the time of writing this, the work on this statue is halted as well because of a trip to India, the above holocaust memorial and a commission for carving a Japanese Lantern. But I was able to presaw the two parts of the statue entirely, so I can expeditiously start carving them in the new year. This statue also stands on the north side of St John's Cathedral in Den Bosch, The Netherlands, that is, to the left from the statue of Thomas I mentioned above.

A Japanese lantern

Copying  of granite Japanese lanternIt may seem that I took a long time carving these two statues, but that's nothing compared to the last piece I worked on this year. For the Japanese Garden of Clingendael Estate in The Hague I made a quote in May 2017 already, and only now I get to carve it. I was asked to carve a reconstructed copy of a weathered Japanese lantern out of Bavarian granite. I'm already well on the way, but I still need to carve a lobed base and then sort out the details with the client. A blog post will follow soon!

A marble birdbath

a marble birdbath in the shape of a duck. Annual Review 2019Sometimes you get out-of-the-ordinary commissions. A client had modeled a bird bath in the shape of a duck as a boy and now he wanted it in his garden in marble. Of course that's possible. Unfortunately his clay model had disappeared, so I first had to reconstruct it. Alongside is a picture from halfway through the carving process.

Pan in porphyry… again?

Pan in porphyry: carved the legsAt the end of October I was able to find two days for working on my sculpture of Pan in Red Porphyry. As you can read in my last post about it I had just started with rough carving when I had to put it aside. That was almost two years ago (March 2018).

But I had to put the sculpture aside again quickly this time as well because I had to take on other projects first, such as Pope Leo. Yet I was able to roughly carve the hooves, the face, the hands and the flute. So far, I've been working it for only five days altogether. I hope I can find more time in the coming year and be able to finish the sculpture.

A small head for the Eusebius Church in Arnhem

a simple head in Udelfanger sandstone for Eusebiuskerk. Annual Review 2019The Eusebius Church contains various sculptural parts. The quality varies from very finely carved to fairly primitive, and dates from the construction time to present day. Somewhere in a side transept of the church, at the very top, missing a small cup of men ↑ in a row of 9 rather primitive homemade heads. Three of those were from the construction period of the church, and three of them dated from the 1960s. I was asked to carve a new head for the empty spot. It only had to look just as primitive as the others. That proved to be quite tricky! Someone told me that you'd best ask for a mason or a beginner to carve it, they might hit upon the right atmosphere. So I just made it into a little man with a page haircut.

More for St. Eusebius's church: Two huge finials

finial blocks for Eusebius Church ready for shippingBy far the majority of the work of this year was spent on carving ornamental work for two large finials and surrounding ornamental work on the northern transept of the Eusebius Church. Stide, Jelle, and I, partly with support by Serge, had months of work to carve all that.

We carved ornaments in two types of red sandstone for this north aisle, in Udelfanger sandstone and in Massangis limestone. It was so much work that I was in for a joke at the end.

Carving ornaments for the Utrecht Dom Cathedral twice

Large crockets in  weiberner tufa for the Utrecht Cathedral

completed crocets in Volvic basaltic lava, wet by rain

But Eusebius Church was not the only church which we made ornaments for. Having ended the previous year with 29 tufa side crockets for the south chapel of the Dom Cathedral in Utrecht, we got more big crockets this summer, in Volvic Basaltlava this time. These twenty large crockets we have been sharing between the four of us (Serge, Stide, Jelle and I) and despite delays we were able to complete them just in time.

Carving ornaments on the Utrecht Dom tower

test crockets for Dom tower UtrechtAdmittedly, it was but a small pilot project, and the main work on the Utrecht Dom Tower has yet to arrive. But at a time when the scaffolding around the tower was still not up, Jelle and I scrambled up all 465 steps of the Dom Tower with all our tools on two days, and carved a few test ornaments at the very top, so that the approach of the next part can be determined. Fortunately it was beautiful weather and we had a magnificent view.

Coat of arms in Udelfanger sandstone

small coat of arms in Udelfanger sandstone completedFor the front façade of a farm in the east of the country I made this small relief with a family crest in October, in Udelfanger sandstone. In order to keep it lively, I chose a baroque shield shape, so it really stands out on the façade.

 

Coat of arms in bluestone

bluestone coat of arms with two falcons. Coat of Arms, coat of arms, relief with crest/coat of arms, family crestsThe coat of arms that I finished later in that same month of October was much larger: 41 x 66 cms tall. It will be inserted in a restored parsonage, on the outside, somewhere in Belgium. I had a lot of fun shaping the flowing undulations of the mantling and the tiny details of the helmet.

Sculpture of The Night

Sculpture The Night by Eduard Kuilsburg- new copy in Muschelkalk limestoneBut it was not all ornamental carving work, I also had some sculptures in progress. For the west facade of the tower of St. Eusebius's Church I carved the large corbel with the sculpture of The Night out of limestone: a naked lady with a nest of owls beside her. To accelerate the process, I cut it and its counterpart, The Day, on my presawing machine machine. It only just fitted: I had to cut away some corners, otherwise this lady couldn't even turn around inside the machine.

Flying Buttress Figurines: Seven Sins

Carving a copy of flying buttresses figurine RageIt had been very lively last year and the year before especially with carving flying buttress figurines. That was a bit less this year, because the ornaments demanded all of our attention. We only had one flying buttress to go, with the Seven Sins depicted on it. Jelle made the Vanity, the Gluttony and the Greed, Stide got Envy and Lust, and I made the last two.

The Anger was a flying buttress statue of a man with a contorted face pulling a knife. He looked rather primitive, in his bearskin. As the only man among all the women, he actually had not much to complain, but he was clearly not happy with it.

flying buttress figurine Laziness completedThe Idleness on the other hand, ie the Sloth, didn't mind so much. She sat back a little, caressing her workhorse, in her provocative dress, and seemed more concerned with her own laziness.

A boulder with house numbers

boulder with house number- finishedFor a building in Amersfoort I carved a large boulder of red granite into a house number. Maybe I will be gilding the numerals one day for clarity.

A tree with rocks

For the same building I helped making a work of art for its residents: for each resident I made a stainless steel tree leaf with their own rock on it, which were all made into one big tree. It was a lot of work to cut everything out, bending the leaves, welding and glueing them, especially since I'm not equipped too well for metalworking. It was a lot of fun to make. Painter Sandra Nanning turned the staircase into a three-story encompassing tree.

A spoonbill from Haarlem

clay maquette and stone spoonbillNot all sculpture to be replaced has suffered from weathering. Sometimes sculpture disappears because of renovations and later on, residents want it back again on their building, and sometimes something is stolen. Such was the case with a buddha's head, a pelican and a spoonbill in Haarlem. Fortunately, the pelican was found again. I made a copy of the spoonbill after first reconstructing it, and Jelle accounted for the buddha head.

A lot of work for my colleagues

Presawn Angel for St. John's Cathedral in Den BoschAs you might have understood, I work regularly with my colleagues Serge van Druten, Stide Vos and Jelle Steendam. They, like me, all three have their own independent businesses. Only Jelle works in my shop; Stide has his own workshop next to me and Serge 20 kilometers away. I like having my colleagues around and being able to share larger contracts.

But I am the only one with his own presawing machine. That means that I regularly get the request to presaw something for the others too. Jelle also can properly handle the machine, so he'll be sawing for me sometimes and mainly for himself. But Jelle and I have also often enough presawn sculptures for Stide and Serge. I also usually keep track of the big picture, the tenders and the distribution of all joint projects, such as Eusebius Church and the Utrecht Cathedral.

repairing a broken vase. Year review of 2019Jelle mainly operates under my supervision, but he also takes on his own work (have a look at his website). So I regularly pass on things to him that are too much for me to take on. Sometimes he would take a little longer than I would do, That's because I do this work, of course, for a longer time. Unfortunately we have no specific training for restoration sculpture in Netherlands, so the work itself is his training. This year for example Jelle restored some garden ornaments.

New year: musicians and apostles

weathered figurines of the musicians in storageWhat's coming up next year? The most important work coming up is all of the ornamental work that we are going to get from the restoration of the Dom Tower in Utrecht. Balustrade finials, gargoyles and various other ornaments.

Next, we will be getting work from flying buttress no. 14 and 16 of St. Eusebius's Church in Arnhem. Flying buttress no. 14 consists of a group of 7 musicians and no. 16 contains a number of apostles. These are the last sculptures that sculptor Eduard van Kuilenburg made for the church, and in these we can see a transition to a somewhat more angular style. There were at the time of completion (around 1956) already alarmed questions from the church council about the "overcrowded flying buttresses’ that this led to, even though the block size was no larger than that of the previously created sculpture groups around the choir. Especially the apostles have massive fists and lumpy heads. We're looking forward to copying them into new stone (if you want to know why these figuries are replaced: read this article about the Ettringer tuff ↑ of which they were made).

Boxes full of debris and more sculpture to go

crates with flying buttress figurines that are yet to be copied.So that adds up to fourteen sculptures for flying buttresses nos. 14 and 16, for which we expect to get the new stone blocks in early January. We have been reserving a spot for those. But there are still 12 boxes more in our storage and a group of loose sculptures outside in the yard, which will all have to be copied one day.

Some of these other sculptures are heavily weathered because they started to shatter after the impregnation process and fell to pieces, and they're lying as a layer of debris at the bottom of the boxes. It will still be an interesting project to reconstruct them. If that happens at all, because people are currently considering an alternative way to fill the empty spaces. We sent in our estimate already anyway :).

All other blog posts from the past year

I wish you all a very good, educational and creative New Year. Thank you all for following this blog!

Beeldhouwerijblog.nl is the blog of Koen van Velzen, sculptor in stone and bronze. Look up my website as well: beeldhouwerijvanvelzen.nl

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Flying buttress figurine: The Idleness

-to the first post about of this flying buttress- ↑

first stage of rough carving The Idleness

Acedia

The next flying buttress figurine from arc 24 of St. Eusebius's Church in Arnhem wasn't entirely clear to me. We've seen all seven sins pass by, except Sloth, sometimes called idleness, laziness or inertia, so this one had to be it.

Idleness

next stage in carving flying buttress figurine The IdlenessI just don't know how the sculptor had originally intended this. I also thought at first that this one was Pride, or Hubris, a lady with voluptuous bosom that sits high on horseback. Or maybe it should depict a donkey?

Dolce Far Niente

flying buttress figurine Idleness completedMaybe this lady portrays the lack of direction of a bored rich lady, spending her days with useless things and letting the workhorses do the work? "Idleness is the devil's earcushion,’ as an old saying goes, though I always thought they meant you really had to be flexible if you wanted to give the devil a kiss on his ear. This lady is in any case sufficiently limber!

However it may be, I just copied the sculpture as it was. While working I noticed that not only the breasts threatened to fall overboardfrom her gown, but even the nipples are in focus. "It's must be feeding time again', commented my mate Stide. 'How so??’ I asked.

‘Well,’ he said, 'The piglets are already looking over the trough!’

Structure

flying buttress figurine Idleness completed

The old sculpture had a heavily weathered surface, but I noticed something that hinted the sculptor had carved something of a structure and had made the suggestion of a thick woolen dress. I tried to imitate that by first bush hammering, horse and dress and carving short, shallow lines into the dress with a pointed chisel, resulting in a lively surface.

Dog-Latin

sculpture The Envy -presawing

presawing Envy, step 2

In a previous post on this flying buttressI told you about the theme that these sculptures convey: the seven deadly sins. Each figurine we have carved so far (and Jelle has made three out of these seven) has been given a Latin name in the profile on the side: Superbia for Vanity, Gula for Gluttony, Ira for Rage, Avaritia for Greed, This Laziness or Idleness is called Acedia, and then later Stide will be adding Luxuria for Lust and Invidia for Envy. Which are both on their way as well.

A mysogynous sculptor?

sculpture The Envy -presawing

presawing Envy- step 3

Some ladies noted that women come down quite badly in this series, because actually only the Fury is a male. This went against their sense of justice and some of them therefore ascribed a very negative view of women to the original sculptor.

But even in the next series, which should represent the seven Virtues, the majority is shown as female as well. The conclusion is clear: Eduard van Kuilenburg, who carved almost all of the flying buttress figurines in the 1950s , had no trouble with women. On the contrary: he would rather carve images of women than men. That would explain why there are so many women among these sculptures.

Measuring up

carving the profiles on Idleness

The profile leans 5 degrees to the left with respect to the wall face, and 61 degrees downwards

Because with the previous flying buttresses often the topmost sculpture didn't fit quite right inside the surrounding wall surface, I especially went to St. Eusebius's church along with Remon Theissen from Slotboom Stonemasons to measure how the arc is positioned relative to the church. A visit to the church is always a wonderful opportunity to see how our work from the last months looks in its rightful place. And again it was clear to me how much skill is invested in this restoration. The finished part looks awesome, and our previous flying buttress figurines with the trumpet angels, wise maidens, foolish maidens and crippleds from the Beatitudes fit right in.

flying buttresses Eusebius's church, south side flying buttresses Eusebius's church, south side flying buttresses Eusebius's church, south side flying buttresses Eusebius's church, south side flying buttresses Eusebius's church, south side


to the next article about flying buttress images →

Beeldhouwerijblog.nl is the blog of Koen van Velzen, sculptor in stone and bronze. Look up my website as well: beeldhouwerijvanvelzen.nl

I'm also on Instagram
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Finials for St. Eusebius's Church-2: crockets!

crockets carved for St. Eusebius's Church in Arnhem, the Netherlands

As I already explained in in an earlier blog post I spent my days before the summer holidays carving crockets on finial parts for St. Eusebius's Church in Arnhem (the Netherlands).

And my colleagues Stide Vos, Serge van Druten and Jelle Steendam were also contributing to this project. I have not seen how these finials are installed now, but I am confident that …Read the whole article…

A short radio interview on national Dutch radio2

Daniel Mayer Creative Commons

(Sorry folks, the interview was in Dutch) On Sunday 11 August 2019 I was interviewed for radio show Bureau Kijkindevegte in response to the following question from a listener: How would a sculptor correct mistakes made during carving in stone? A short interview about …Read the whole article…

Two stolen facade reliefs: a head and a spoonbill

My comeback on this blog!

I've recently had many different projects in progress and have just not gotten round to post any messages about them on this blog. But, fortunately we still have the pictures, as the businessman said when he saw his million dollar yacht sinking. This project has been an interesting challenge in between all the ornamental work. The job on hand was about two facade reliefs of a spoonbill and buddha head from Haarlem.

The original stone ornaments came from the façade of the Lutheran Orphan's and Old Men's Home, which was built in 1906. After the demolition of this home, the stones were reused in the garden wall of the Vitae Vesper Elderly Nursing Home that in 2015 was demolished again itself. An apartment building was constructed on this site and the reliefs remained behind, discarded and orphaned. The Lutheran Church Administration wanted to …Read the whole article…

What will save the Notre Dame? (2)

-read part 1 of this article here-

A very short time frame (2)

So President Macron has announced that the cathedral should be rebuilt in five years. He has appointed a French general to run the whole operation and there has also been announced that there will be a competition for a new spire. I guess it will become something made of steel and glass, with a modern slightly pyramid-like shape… oh wait, where have I seen something like that before?

All very remarkable. A number of well-informed decisions to be taken are pushed through quickly without discussion or consultation, and deploying the military renders the freedom to bypass a lot of rules. For yes, there will be needed a huge flow of materials (for the roof alone, more than 1300 thick straight oak trees are needed, and wherever would you get these from on such short notice? Fortunately …Read the whole article…

Will the computer become the rescue for the Notre Dame? (1)

A disaster with far-reaching consequences

fire Notre Dame

photo by Wandrille de Préville – Own work, CC BY-SA 4.0, Wikimedia Commons

After some time, this will be old news already, but for now, this remains fresh in everyone's memory: a huge fire made the roof of Notre Dame in Paris collapse, on 15 april 2019. During the current restoration a fire broke out somewhere around the base of the spire, which, along with the rest of the roof, burned down and partly fell on the scaffold, and partly on the vault beneath. Part of the ceiling collapsed. All technical terms which I will explain later on. It surprised me how much I was shocked by the first television pictures of the burning cathedral. It is again clear that this is not just any French church somewhere , but an iconic place that belongs to the heritage of the world. Yet it is strange that the fire in this building evokes more emotions than a war or a famine on television. It's ultimately only a material object that was made for mankind. Is the human being then not more important?

A very short time frame (1)

Notre Dame before 2019

Notre Dame before 2019. Photo by Daniel Vorndran / DXR, CC BY-SA 3.0, Wikimedia Commons

The French president announced Macron …Read the whole article…