Tobias-D. Albert
Step 3 Bell project Thomaskirche: Making the moulds for the ornaments on the lower edge of the bells.
In addition to the inscriptions, small ornaments are applied to the lower edge of the bells (picture 2). They are taken from the front of the bells from the "Himmelsgärtlein", the ceiling paintings of the Thomaskirche. On the back of the bells are insignia of the church. The Luther rose is taken from doorknobs, the Bach monogram is found on the Bach organ, the Christ monogram on one of the front sides of the church and the lion's head on the entrance portal.
All these small relief sculptures I first formed in plasticine (picture 3). In total there are 34 ornaments. The four bells are of different sizes, so for example the Bach monogram had to be made in three sizes. Plaster casts were made from these plasticine models (picture 4), which in turn were filled with wax (picture 5). My cousin Miriam Albert supported me in this work. Then the wax cast had to be cleaned and reworked (picture 6).
To transport the small sculptures to the foundry matchboxes were suitable (picture 1).
The main inscriptions of the bells were first cut in wax after digitalisation (picture 7).
All rights for this photo by W. Grubitzsch.
Step 3 Bell project Thomaskirche: Making the moulds for the ornaments on the lower edge of the bells.
In addition to the inscriptions, small ornaments are applied to the lower edge of the bells (picture 2). They are taken from the front of the bells from the "Himmelsgärtlein", the ceiling paintings of the Thomaskirche. On the back of the bells are insignia of the church. The Luther rose is taken from doorknobs, the Bach monogram is found on the Bach organ, the Christ monogram on one of the front sides of the church and the lion's head on the entrance portal.
All these small relief sculptures I first formed in plasticine (picture 3). In total there are 34 ornaments. The four bells are of different sizes, so for example the Bach monogram had to be made in three sizes. Plaster casts were made from these plasticine models (picture 4), which in turn were filled with wax (picture 5). My cousin Miriam Albert supported me in this work. Then the wax cast had to be cleaned and reworked (picture 6).
To transport the small sculptures to the foundry matchboxes were suitable (picture 1).
The main inscriptions of the bells were first cut in wax after digitalisation (picture 7).
All rights for this photo by W. Grubitzsch.