the Cinecittà soundstages and back lot. The Ben-Hur production utilized 300 sets scattered over and nine sound stages. Several sets still standing from Quo Vadis in 1951 were refurbished and used for Ben-Hur. By the end of the production more than of plaster and of lumber were used. The budget called for more than 100,000 costumes and 1,000 suits of armor to be made, for the hiring of 10,000 extras, and the procurement of hundreds of camels, donkeys, horses, and sheep. Costume designer Elizabeth Haffenden oversaw a staff of 100 wardrobe fabricators who began manufacturing the costumes for the film a year before filming began. Special silk was imported from Thailand, the armor manufactured in West Germany, and the woolens made and embroidered in the United Kingdom and various countries of South America. Many leather goods were hand-tooled in the United Kingdom as well, while Italian shoemakers manufactured the boots and shoes. The lace for costumes came from France, while costume jewelry was purchased in Switzerland. More than of hair were donated by women in the Piedmont region of Italy to make wigs and beards for the production, and of track laid down for the camera dollies. A workshop employing 200 artists and workmen provided the hundreds of friezes and statues needed. The mountain village of Arcinazzo Romano, from Rome, served as a stand-in for the town of Nazareth. Beaches near Anzio were also used, and caves just south of the city served as the leper colony. Some additional desert panoramas were shot in Arizona, and some close-up inserts taken at the MGM Studios, with the final images photographed on February 3, 1958. The sea battle was one of the first sequences created for the film, filmed using miniatures in a huge tank on the back lot at the MGM Studios in Culver City, California, in November and December 1957. More than 40 miniature ships and two long Roman galleys, each of them seaworthy, were built for the live-action segment. The ships were constructed based on plans found in Italian museums for actual ancient Roman galleys. An artificial lake with equipment capable of generating sea-sized waves was built at the Cinecittà studios to accommodate the galleys. A massive backdrop, wide by high, was painted and erected to hide the city and hills in the background. To make the scene bloodier, Dunning sought out Italian extras who had missing limbs, then