{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O40925"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O40925/"}},"images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2006AN9269/full/!100,100/0/default.jpg","_iiif_image":"https://framemark.vam.ac.uk/collections/2006AN9269/","_alt_iiif_image":[],"imageResolution":"high","_images_meta":[{"assetRef":"2006AN9269","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2006BK4621","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2006BK4620","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2019MA8411","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2019MA8414","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false}]},"see_also":{"_iiif_pres":"https://iiif.vam.ac.uk/collections/O40925/manifest.json","_alt_iiif_pres":[]}},"record":{"systemNumber":"O40925","accessionNumber":"REPRO.1907-58","objectType":"Doorway","titles":[],"summaryDescription":"The swirling patterns and mysterious iconography of the doorway and column from the wooden stave church at Urnes fascinate and intrigue, although their exact iconographic meaning remains unknown. The designs may derive from illuminated manuscripts, or possibly textiles. In the early 20th century, when these plaster casts were made, Norway had newly acquired independence from Sweden, and there was a good deal of interest in early Scandinavian art throughout Europe.","physicalDescription":"Plaster cast of a doorway and column depicting swirling patterns and mysterious iconography which the meaning of are still unknown. The designs may derive from illuminated manuscripts, or possibly textiles.","artistMakerPerson":[],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[{"text":"Plaster","id":"AAT14922"},{"text":"paint","id":"AAT15029"}],"techniques":[{"text":"Casting","id":"AAT53104"},{"text":"painting","id":"x30598"}],"materialsAndTechniques":"Painted plaster cast","categories":[{"text":"Sculpture","id":"THES48896"},{"text":"Architecture","id":"THES48993"},{"text":"Plaster Cast","id":"THES270451"},{"text":"Cast Courts","id":"THES280650"},{"text":"Copies and Facsimiles","id":"THES253072"}],"styles":[],"collectionCode":{"text":"SCP","id":"THES48600"},"images":["2006AN9269","2006BK4621","2006BK4620","2019MA8411","2019MA8414"],"imageResolution":"high","galleryLocations":[{"current":{"text":"46A (VA)","id":"THES49799"},"free":"","case":"WW","shelf":"","box":""}],"partTypes":[[{"text":"Copy of a Doorway and Column","id":""}]],"contentWarnings":[{"apprise":"","note":""}],"placesOfOrigin":[{"place":{"text":"Bergen","id":"x35034"},"association":{"text":"made","id":"x28654"},"note":"Copy\r\n\r\n(probably made in)"},{"place":{"text":"Oslo","id":"x32635"},"association":{"text":"made","id":"x28654"},"note":"Original"}],"productionDates":[{"date":{"text":"early 20th century","earliest":"1900-01-01","latest":"1950-12-31"},"association":{"text":"made","id":"x28654"},"note":"Copy"},{"date":{"text":"ca. 1050-1070","earliest":"1045-01-01","latest":"1070-12-31"},"association":{"text":"made","id":"x28654"},"note":"Original"}],"associatedObjects":[],"creditLine":"","dimensions":[{"dimension":"Height","value":"274.5","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""}],"dimensionsNote":"","marksAndInscriptions":[],"objectHistory":"Cast of a doorway and column created in plaster probably in Bergen and purchased from the Bergen Museum, Bergen, Norway in 1907 for £25 10s. The cast is from the wooden stave church at Urnes and was originally carved in wood about 1050-70. In the early 20th century, when these plaster casts were made, Norway had newly acquired independence from Sweden, and there was a good deal of interest in early Scandinavian art throughout Europe.","historicalContext":"Making plaster copies is a centuries-old tradition that reached the height of its popularity during the 19th century. The V&A's casts are of large-scale architectural and sculptural works as well as small scale, jewelled book covers and ivory plaques, these last known as fictile ivories. \r\n\r\nThe Museum commissioned casts directly from makers and acquired others in exchange. Oronzio Lelli, of Florence was a key overseas supplier while, in London, Giovanni Franchi and Domenico Brucciani upheld a strong Italian tradition as highly-skilled mould-makers, or formatori.\r\n\r\nSome casts are highly accurate depictions of original works, whilst others are more selective, replicating the outer surface of the original work, rather than its whole structure. Like a photograph, they record the moment the cast was taken: alterations, repairs and the wear and tear of age are all reproduced in the copies. The plasters can also be re-worked, so that their appearance differs slightly from the original from which they were taken.\r\n\r\nTo make a plaster cast, a negative mould has to be taken of the original object. The initial mould could be made from one of several ways. A flexible mould could be made by mixing wax with gutta-percha, a rubbery latex product taken from tropical trees. These two substances formed a mould that had a slightly elastic quality, so that it could easily be removed from the original object. Moulds were also made from gelatine, plaster or clay, and could then be used to create a plaster mould to use for casting. \r\nWhen mixed with water, plaster can be poured into a prepared mould, allowed to set, and can be removed to produce a finished solid form. The moulds are coated with a separating or paring agent to prevent the newly poured plaster sticking to them. The smooth liquid state and slight expansion while setting allowed the quick drying plaster to infill even the most intricate contours of a mould. \r\nFlatter, smaller objects in low relief usually require only one mould to cast the object. For more complex objects, with a raised surface, the mould would have to be made from a number of sections, known as piece-moulds. These pieces are held together in the so-called mother-mould, in order to create a mould of the whole object. Once the object has been cast from this mother-mould, the piece-moulds can be easily removed one by one, to create a cast of the three-dimensional object.","briefDescription":"Plaster cast of a doorway and column probably made in Bergen. The original is from the wooden stave church at Urnes and made about 1050-70.","bibliographicReferences":[],"production":"Plaster cast reproduction after original built into the north side of the wooden church of Urnes, in western Norway, 1050-1070","productionType":{"text":"Copy","id":"THES48865"},"contentDescription":"","contentPlaces":[],"associatedPlaces":[],"contentPerson":[],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[{"text":"doorways","id":"AAT2767"},{"text":"doors","id":"AAT2803"}],"contentConcepts":[],"contentLiteraryRefs":[],"galleryLabels":[{"text":"Cast of\r\nUnknown artist\r\nDoorway and Column\r\nAbout 1050–70\n\nThe swirling patterns and mysterious iconography of the doorway and column from the wooden stave church at Urnes fascinate and intrigue, although their exact iconographic meaning remains unknown. The designs may derive from illuminated manuscripts, or possibly textiles. In the early 20th century, when these plaster casts were made, Norway had newly acquired independence from Sweden, and there was a good deal of interest in early Scandinavian art throughout Europe.\n\nCast\r\nPainted plaster\r\nProbably Bergen\r\nPurchased from the Bergen\r\nMuseum, Bergen, Norway in 1907\r\nMuseum no. Repro.1907-58\n\nOriginal\r\nCarved wood\r\nOslo\r\nBergen Museum, Norway","date":{"text":"04/07/2018","earliest":"2018-07-04","latest":"2018-07-04"}},{"text":"The gigantic forms and mysterious iconography of the portal from the stave church at Urnes in Norway contribute to the fascination it still exercises over viewers today. Its iconographic and stylistic origins remain enigmatic. The animal and plant-like (probably vine) forms are intertwined in a compelling organic, and at the same time abstract, design, redolent of medieval manuscript illuminations, while the lack of divisions in the composition means that the animals are all of equal value. The meaning of the imagery  has not been fully explained, although its extraordinary qualities are indisputable. It does not appear to be overtly Christian. However it has been suggested that the Lion of Judah, representing Good, is battling against the serpent, or devil, representing Evil. It may be a metaphorical depiction of leadership and power, implying prestige, most likely inspired by secular portals, which are no longer in existence. It could also have been inspired by earlier pagan imagery, but it remains a mystery as to why a religious building should apparently lack overtly Christian imagery on its door. In the early twentieth century, when this plaster cast was made, Norway had newly acquired independence from Sweden, and there was great interest in early Scandinavian art throughout Europe.\r\n\r\nHolly Trusted","date":{"text":"","earliest":null,"latest":null}}],"partNumbers":["REPRO.1907-58"],"accessionNumberNum":"58","accessionNumberPrefix":"REPRO","accessionYear":1907,"otherNumbers":[],"copyNumber":"","aspects":["WHOLE"],"assets":[],"recordModificationDate":"2025-04-22","recordCreationDate":"2000-06-27","availableToBook":false}}