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The question still remains as to how the plate was made, and this now deserves some discussion. D. 13 One of these silver plates, the Neptune plate, was carefully studied in an attempt to discover how it had been produced. It too has figures in relief design on its front that were not made by repoussé working from the back. Maryon noted, however, that the plate had subtle hollows under each raised figure, and his observations led to the conclusion that the designs on the plate had been fabricated by working solely from the front.

Rubinstein, Renaissance Artists and Antique Sculpture (London and New York, 1986), no. 38. 176. The transformation of this particular gesture is by no means confined to this case. , no. 53. 177. L. S. Malke, Italienische Zeichnungen des 15. Jahrhunderts aus eigenen Bestànden. exh. cat. (Stàdelsches Kunstinstitut und Stadtische Galerie, Frankfurt am Main, 1980), no. 83. 178. Ibid. Such cautions apply to matters of iconography as well as style. Perino del Vagas Philosophers fresco (fig. 17), for example, was copied at least once in a drawing now in Frankfurt (B.

7. R. F. Tylecote, The Solid Phase Welding of Metals (London, 1968). D. has revealed that a variety of methods could be used to produce a footring. Thomas Chase examined the Sasanian Stroganoff silver plate in the Freer Gallery collection (ace. no. 8 X-radiographic examination showed that the footring had been soldered on. Gibbons, Ruhl, and Shepherd studied another Sasanian silver object in the collection of the Cleveland Museum of Art (ace. no. 9 E. 10 He suggests that at one production center, undecorated blanks were hammered from cast ingots into a form closely resembling the final shape.