Behind the scenes: Transporting the Three Graces

Removing fascia from the plinth

Removing fascia from the plinth

When the sculpture needs to be moved the decorative fascia around the plinth is first removed.

Sculpture and plinth with fascia removed

Sculpture and plinth with fascia removed

The bottom section of the plinth is heavily counter-weighted, and has slots in the bottom which permit access for a pallet truck. They are used only when the sculpture has been removed. These slots, as well as those on the top section, are covered by decorative facing for the final display.

Lifting up the first side of the inner crate

Lifting up the first side of the inner crate

The crate actually consists of one crate inside another. The inner crate surrounds the object itself.

Sides and top of the inner crate assembled

Sides and top of the inner crate assembled

The assembly of the crate begins by inserting the sides of the inner crate, and bolting them to the top of the plinth.
The top of the inner crate is then bolted to the sides, and the six shaped slider sections are slotted into place. A further padded batten is fixed into the upper part of the crate to secure the sculpture against any vertical movement.

Construction of sliding 'drawer' sections

Construction of sliding 'drawer' sections

Sliding sections cut to follow the contours of the object are secured at top, middle, and bottom levels. These are lined with plastazote, a strong plastic foam of archival quality, around the surfaces that come into contact with the sculpture. A buffer layer of acid-free tissue is placed between this foam and the marble to offer further protection to the delicate surface.

Drawer sections in position, showing buffer layers of tissue

Drawer sections in position, showing buffer layers of tissue

Sliding sections cut to follow the contours of the object are secured at top, middle, and bottom levels. These are lined with plastazote, a strong plastic foam of archival quality, around the surfaces that come into contact with the sculpture. A buffer layer of acid-free tissue is placed between this foam and the marble to offer further protection to the delicate surface.

Fitting the last side of the inner crate

Fitting the last side of the inner crate

Front and back panels are bolted onto the crate.

Removal of the crated sculpture (a combined weight of 975kg) is done using a fork-lift truck. Forks are manoeuvred very carefully into the slots in the top section of the plinth (which now forms the base of the inner crate), and the crate is lifted clear of the plinth. The fork-lift backs away from the plinth, and the crate is lowered to the floor. It can then be transported through the galleries using a pallet truck.

Sculpture in inner crate is lowered onto pallet base of outer crate

Sculpture in inner crate is lowered onto pallet base of outer crate

When the sculpture travels out of the museum, ('The Three Graces' is owned jointly with the National Galleries of Scotland), it must be packed once again into the second crate.
The inner crate is lowered onto the base of the outer crate, and the outer sides and top are bolted on. This exterior crate, lined with foam buffers, provides a further layer of protection and shock absorption.

The Three Graces being loaded onto the van

The Three Graces being loaded onto the van

The now double-crated object is lifted onto the van in which it is to travel. It is a requirement that the van is equipped with full air-ride suspension to keep shock and vibration to a minimum during transportation. The crate is placed so that the figures are aligned on the front to rear axis of the truck. This is the best structural orientation to allow for movement and stopping of the vehicle. The crate is finally secured inside the lorry using winch-straps and load-lock cross-bars before setting off to its destination, where the whole exercise will be undertaken in reverse when the 'The Three Graces' is redisplayed.