Tátrai Vilmos szerk.: A Szépművészeti Múzeum közleményei 95. (Budapest, 2001)

VOZIL, IRÉN: Technical analysis, restoration and evaluation of material testing of the bronze statuette of Imhotep

among the known Imhotep representations. A deeply engraved hieroglyphic text can be seen on four sides of the rectangular footstool. A text of four lines of hieroglyphic signs can be seen on the open papyrus roll held by the hand of Imhotep and laid on the knees. These hieroglyphic signs are of different quality, smaller and less deeply engraved. No inscription can be seen on the base of the chair. Two methods of bronze casting can be observed on the Imhotep statuette of Museum of Fine Arts in Budapest: the open casting, which was made with the help of a lost wax process (a) and of sand mould (b). The figure of Imhotep and the footstool together with its protruding tenon was made with the lost wax process in a single pass. The weight of the figure indicates that it was made from solid bronze, while the footstool is hollow and open from below. From the traces of filing and polishing seen on the bottom part of the statue, there is reason to believe that one of the bronze casting openings might have been here, the traces of which were not entirely eliminated after removing the casing mould. In the case of this kind of sitting statue, it is quite evident that the casting hole and the checking point of the overflow could be here and at the sole because these parts can be hidden completely after assembling (fig. 13). Most probably no subsequent refining was necessary, because the wax model had been shaped to minute detail. Even the cavities of the precious metal inlay were prepared on a wax model together with the hieroglyph signs and the ornamental fringe of the clothing. Every piece is unique as a result of the direct lost wax process, for this reason these objects truly reflect the state of art of the craftsman. Precious metal inlays were placed into the previously prepared cavity by means of hammering. Precious metal was inlaid on the eye, leaving the pupil blank.Thin gold fibre was used to prepare the "usekh-collar," forming petals of flower in its last row. The straps and the edge of the sole of the sandal as well as the hand and toe nails are inlaid with fine silver. By the artistic processing of this inscribed statue is an outstanding piece of art among the known Imhotep representations and it is also unique because of the use of different kinds of precious metals for the ornamental design, where various precious metals were used. The chair and the base were produced from more elements by using an open casting technology in a sand mould, which were subsequently assembled. First, the side boards of the chair were assembled, then the back rest and the seat cushion were attached. For this purpose the sitting surface was elongated most probably by means of forging. This is verified by the wide tool marks (fig. 14). The complete chair was put into the still soft base. For this reason some bulges were produced at the bottom of the hollow base by the inserted legs (fig. 15). The joint of the chair leg and the base on the external surface is roughly elaborated. The vertical supports established above the arched brace connecting the chair legs form a lotus flower.

11 The footstools and chairs of bronze statuettes have often been prepared with flower shaped outriggers. The result or drawback of this casting technology is the uneven surface and joints of the completed bronze product, which was rough and black stained because it was burnt on sand.

12 11 Similar example: Daressy, op.cit. N° 38064, pl.V. 12 See: Lucas, A., Ancient Egyptian Materials and Industries, London 1962, p. 220