al exits the mold in the least turbulent way possible. Cast- ing defects and imperfections that occur in an art-casting can pose significant challenges to re-work later on, so consider- able attention is given to the gating design beforehand.
Shellbuilding Burnout, Pouring & Knockout
At this point, the lost-wax process steps for an art casting are much the same as they are with any investment casting, from shell creation through to knockout. But unlike indus- trial investment castings, an art casting’s finishing phase is critical in that it’s the last opportunity to ensure any im- perfections are corrected and that once again, the re-worked figure matches the original clay model. Once that match has been achieved, the final “process” step of applying the appropriate patina to the surface of the bronze casting begins. The patina is achieved through a heated application of a variety of chemical com- pounds that in turn will pro- vide the “dark & aged” look characteristic of most formal memorial sculptures or monu- ments.
Delivery
and Dedication of Monument
The finished bronze fig-
ure was then carefully packed and transported to the Marine Corps Museum where it was then fitted to the marble base that bears the inscription (see below Figure 7). While the hours and ef- fort put into the “Marine in
Bronze” monument were both long and absolute, there was no greater satisfaction for me as a sculptor than to observe the solemn pride on the faces of those Marine veterans who were present for the unveiling and formal dedication of the monument. The Marines who served on Iwo Jima as part of the 5th Division experienced and understand a level of sac- rifice and dedication that was critical in helping the US win against the Japanese Empire in World War II and explains why they are one of the most storied military units in his- tory.
About the Author Robert Eccleston was
a captain in the U.S. Army and a lead instructor at the US Army’s Mountain War- fare School in Burlington, VT. During his tenure as an instructor, he taught military mountaineering and survival skills to the special operations units within each of the four branches of the U.S. Military (along with members of the British S.A.S, and Australian and Canadian Army) and later to a variety of both US mili- tary and federal law enforce- ment agencies.
in
His professional interest sculpture
intersects with
a long-held passion for mili- tary history that explains his reputation for “absolute his- torical accuracy” in his work. His other monumental works can be seen online at www.
roberteccleston.com,
where
one can also see sculpted ex- amples of wildlife and iconic figures. Questions can be E- mailed to the author at info@
roberteccleston.com.
September 2012
Figure 7 – Final monument, Marine Corps Museum. Inscription follows:
AND WHEN THE 5TH DIVISION ENTERED COMBAT, IT ACTED FROM THE FIRST HOUR LIKE A UNIT OF VETERANS. IT FOUGHT THAT FIRST TOUGH FIGHT WITH THE UTMOST VIGOR, COURAGE, AND INTELLIGENCE. FEW TIMES IN HISTORY HAS A FORCE KEPT FIGHTING IN THE FACE OF LOSSES SUCH AS OUR DIVISION SUFFERED ON IWO JIMA. THE DIVISION FOLLOWED ATTACK WITH
ATTACK. IT CONTINUED TO ASSAULT THE HEAVY RESISTANCE OF A DESPERATE ENEMY- UNTIL THE
LAST SMALL POCKET ON THE ISLAND WAS OVERCOME. AS A SINGLE MEMBER OF THE 5TH MARINE DIVISION WHO WAS GIVEN THE GREAT PRIVILEGE OF LEAD- ING IT IN TRAINING AND BATTLE, I HERE JOIN WITH
ALL OTHER VETERANS OF THE 5TH IN TRIBUTE TO THE SPEARHEAD. K. E. ROCKEY LIEUTENANT GENERAL, USMC
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