c Description of the steps in the production process

To fully comprehend the salience of the manufacture of the figurines by moulding, the different steps of the production process are first described shortly. These are the general steps, which are thought to have been taken by Akragantine coroplasts.674 _{The steps are abbreviated in}

table 3.1 and the development of a series is schematically drawn in fig. 3.3. The mechanical method for moulding

672 Muller 2000, p.93. 673 Neutsch 1952, p.1.

674 Reference for the terminology used is Muller 1997. Because of the confusion in some works on terracotta objects, the distinction between the two sorts of application of ‘type’ should be specified: the first ‘type’ is derived from the Greek word tupos and used to describe objects produced using a similar production method, for example, from the same mould series. Muller 1997, p.451 ‘type’. The second use is more general, for example, ‘iconographic type’ means different sorts of figurines. Muller 1997, p.449-50 ‘type iconographique’.

Clay Consistency Shrinking

percentage Munsell colour (fired) Workability

Macalube di

Aragona homogenous 7% 5YR 6/6Reddish yellow Highly suitable for making moulds; not very suitable for making figurines. Scala dei Turchi homogenous 2.5% 5Y 8/2Light grey

(unfired)

Lacking plasticity; not suitable to use as the basic clay to make a figurine or mould. Preparing process: grinding dried pieces of clay and add to another sort of clay or add water to the dry clay.

Macalube di Aragona / scala dei turchi / silt

45% Macalube di Aragona /45% Scala

dei Turchi / 10% silt 5% 7.5YR 8/4Pink Highly suitable for making figurines. Sicilian

(commercial) Macalube natural with inclusions 6.5% 7.5YR 6/4 Simulation of the original clay used in the original figurines in Agrigento. Highly suitable for making figurines, less suitable for moulds. Dutch mixture

(commercial) 42.5% VeKa red-firing/42.5% VeKa white-firing/15% river sand (250µ) 5% 2.5YR 5/8 Simulation of the original clay used in the original figurines in Agrigento. Highly suitable for making figurines, not suitable for moulds. Table 3.1: The different clays and their consistency as applied in the experiment, their shrinkage, colour

figurines has hardly changed to this day.675 _{The methods}

and features specifically applied in Akragas, and used in the experiment, are described below.

General steps in the production process for moulding figurines in series:

1. The gathering and preparation of the clay

Different clay sorts could be combined for their specific properties in order to compose the desired mixture of clay. In addition to the clay and water, other components were added as temper, for example, several sorts of sand, silt, grit, or grains of broken terracotta, shell, etc. 2. The patrix

In order to produce a mould, it is necessary to have a figurine. This could be a figurine from elsewhere or one made by the coroplast himself. Different parts of figurines could be combined, such as the head and body, in order to create the desired design. The coroplast could not alternate or add features easily at this part of the process, as he was dependent on the availability of an existing object, unless he were to create it himself. This object, which stands at the start of the genealogy, is called the archetype or patrix. The patrix could be made by the coroplast and, in that case, would have been created according to his insights and skills, probably influenced by the demands of its function: the requirements for a votive figurine. Apart from terracotta, the patrix could have been made of other materials, such as soft stone or wood. The choice of material would naturally influence the details of the physiognomy of the figurine, as harder materials like stone or wood are processed in a different way from clay.

3. The matrix

The mould made from the patrix is called the matrix.676

The matrix is formed as a print-off from the patrix, and required a plastic material like clay. In order to obtain a sharp print-off, comparatively fine clay was used for the moulds. Details of the execution are influenced by clay

675 For example, Muller 1996, p.27-47 on Classical and Hellenistic figurines from Thasos. Up to today, many objects used daily are produced in a double mould. On those glass and plastic objects, the seam of the two halves can be recognised.

676 It can be confusing that in Italian the word ‘matrice’ is used for ‘mould’ in general. Here a distinction is made between the matrix and a derivative mould, which is a mould further on in the genealogy. The matrix is therefore crucial in understanding the design of the figurines. The word ‘mould-series’ refers to a certain group of figurines, which is almost identical in physical appearance and therefore appointed to the same genealogy.

properties, like plasticity, resistance to deformation, and shrinkage. At this stage of production, changes in the design have to be considered as conscious alterations. After its production, the matrix is dried and transformed into terracotta by firing.

4. Figurines from the matrix

The matrix can now be put to use for the production of multiple identical figurines. To do so, a sequence of actions is taken as summarised below (table 3.2 on the right).

a. Preparation of the clay

The general procedure in this step is similar to the procedure described above. The clay used for the production of series of figurines is tempered with slightly coarser grains compared with the clay used for the moulds. The function of these tempers is to improve the workability of the clay and to reduce shrinkage.

b. Forming the figurine

The mould is filled with moist clay, soft enough to obtain the details of the mould. Clay lacking in flexibility would result in figurines with cracks (fig. 3.2). The result of good flexibility is clear on the back of 146.677 _{The statuette should remain hollow}

in order to dry evenly. Only for the production of small objects an entirely solid construction is possible. For the back of the figurine, a slab of clay is applied. By this method, the circulation of air during drying is assured, due to the thin-walled construction.

c. Drying the moulded figurines in two steps

In the first step, the cast is dried to a leather- hard condition. Due to shrinkage, the figurine can now be released from the mould relatively easily. The main shrinkage occurs during this first stage of drying. As a second step, the statuettes’ details and surface, which is now just dry enough, can be reworked. In this stage, small parts are added or removed. Hereafter the figurine is removed from the mould. The cast is left to dry thoroughly for a longer period. The joining of the two halves, the front and back, is the most important part. Reworking is not only done for aesthetic reasons. The seam on the front and back should be strengthened with extra clay in order to prevent the vulnerable connection from breaking. Before the final touch of smoothing, alterations could be carried out, for example, the addition of a chair. After reworking, the figurine is left to dry again.

d. Firing

Dried thoroughly, the object can be fired. During this firing process, chemically bound water should be able to escape from the clay. In order to avoid damage caused by the thermal expansion of the water, steam, and to allow the ceramics to shrink gradually, the firing process should not be speeded up. After firing, the object could be painted. 5. Use and application

The figurines were used as a votive object and also had an economic value. If the matrix was not available or suitable anymore because it was worn or damaged, it had to be replaced. Now the figurine had a practical value because it could serve as a patrix for the second generation of figurines. In that case, the sequence of actions was repeated. The derivative mould is thus made from a figurine from a previous generation (fig. 3.3). The result, however, is a smaller figurine of the second generation and often with a decline in quality (fig. 3.4).

The described production method results in a series of moulds and figurines and will be experimentally verified as is shown in fig. 3.3.