Artist Frank Gaylord with the original clay work.

A rubber mold being taken from the original clay work.

A wax casting from one of the mold sections.
The wax castings are backed with plaster to prevent warping.

The wax castings are cut into sections, again backed with
plaster to prevent warping, and gated. Registration marks are put
into the wax before being cut into sections, helping with alignment
when assembled as bronze casts.

The gated waxes are afixed to a steel armature for dipping into the ceramic shell tank.

The ceramic shell has been applied and is ready for de-waxing.

The wax is then melted out of the ceramic shell leaving a
void - i.e. "lost wax". At CP&I, the wax is boiled out of the
shell reclaiming nearly 100% of the wax.

The shells are then brought up to approximately 1500 degrees to
harden them and prepare them for casting. They are then allowed
to cool and inspected.

The shells are then put back into the kiln, heated again
to approximately 1500 degrees and placed into the pour pit. Bronze is
then poured into the shells at temperatures between 1960 to 2100
degrees depending on the shape, size and thickness of the wax.

The ceramic shell is then removed from the casting,
sandblasted and rough chased.

After all the sections are cast and chased,
they are fitted and tack welded together.

These are the sections tacked together and ready to be fully welded.

This is the finished bronze with the welds chased and ready for patina.

Here the first layer of a hot patina is being applied to a finished bronze.

The finish patinated bronze is in the truck and ready for delivery.

The finished sculpture installed at a convent in Chicago.