![]() ĭuring this period, superstition found expression in the formation of wax images of hated persons, into which long pins were thrust, in the confident expectation that thereby deadly injury would be induced to the person represented. The memory and lineaments of monarchs and great personages were preserved by means of wax masks. The practice of wax modelling can be traced through the Middle Ages, when votive offerings of wax figures were made to churches. Concerned for their revenue from visitors, the Abbey decided it needed a rival attraction for admirers of Nelson. 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. The effigy of Charles II of England (1680) was displayed over his tomb until the early 19th century, when all were removed from the abbey itself. 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. Most of the figures would wear the real clothes of the deceased so they could be made quickly. 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 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. The masks ( effigies or imagines) of ancestors, modelled in wax, were preserved by patrician families, this jus imaginum being one of the privileges of the nobles, and these masks were exposed to view on ceremonial occasions, and carried in their funeral processions. ![]() Wax figures and models held a still more important place among the ancient Romans. Among the Greeks during their best art period, wax figures were largely used as dolls for children statuettes of deities were modelled for votive offerings and for religious ceremonies, and wax images to which magical properties were attributed were treasured by the people. That the Egyptians also modelled fruits can be learned from numerous allusions in early literature. The death masks of illustrious ancestors would be displayed by the elite holding the right of "ius imaginem." History Ancient world įigures 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. ![]() These properties have seen wax used for modelling since the Middle Ages and there is testimony for it having been used for making masks (particularly death masks) in ancient Rome. 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. It can easily be cut and shaped at room temperature, melts at a low temperature, mixes with any coloring matter, takes surface tints well, and its texture and consistency may be modified by the addition of earthy matters and oils or fats. The properties of beeswax make it an excellent medium for preparing figures and models, either by modeling or by casting in molds. Often these are effigies, usually of a notable individual, but there are also death masks and scenes with many figures, mostly in relief. Anna of Tyrol by Alessandro Abondio, 1618 The funeral effigy (without clothes) of Elizabeth of York, mother of King Henry VIII, 1503, Westminster Abbey The Beatles at Madame Tussauds London Cecilia Cheung at Madame Tussauds Hong KongĪ wax sculpture is a depiction made using a waxy substance.
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