DOI Page / Citation link:
https://doi.org/10.11588/diglit.42779#0149
IOO
MARBLE SCULPTURE IN THE ROUND
The marks of a small punch can be seen on the side of the
left knee, on the left arm, and on the sides. On the right side
the area treated by a small punch can be clearly distinguished
from that treated with a large punch. But there is no trace
of a flat chisel, perhaps because the final state was not reached
at all. The other nine of these seated figures follow very
closely one simple system as far as technique is concerned.
After the primary processes were achieved with hammer and
punch, the .final detail seems to have been done on the relief
panels at the sides with flat chisel and the body surfaces with
a rubber of stone. The implications of this flat chisel work
will be dealt with below (p. 127). The face is preserved in the
case of B.271 only, but is too weathered to give any clear indica-
tions . Possibly the chisel was used on it, but this is not certain.
Statues other than the seated figures of Miletus which
throw a considerable light upon the technique of this
regional group are as follows:
From Samos (from the excavations at the Heraeum in
1928-30). (Neue Deutsche Ausgrabungen, 1930, PI. 6 and
j=i and 3 below):
1. A reclining figure leaning on a cushion. From the
Heraeum at Samos. In splendid condition.
2. A standing female figure whose right hand clasps part
of her chiton; with her feet side by side (Fig. 38).
3. A similar figure to No. 2 with the hand clasping the
chiton in the same way but with the left foot slightly
forward.
4. A figure similar to Nos. 2 and 3 but very badly
weathered.
From Samos (from earlier excavations).
5. The Hera of Cheramyes now in the Louvre, from
Samos. In Naxian marble.
From the Acropolis of Athens.
6. No. 677 in the Acropolis Museum. A bust in Naxian
marble from the Acropolis.
MARBLE SCULPTURE IN THE ROUND
The marks of a small punch can be seen on the side of the
left knee, on the left arm, and on the sides. On the right side
the area treated by a small punch can be clearly distinguished
from that treated with a large punch. But there is no trace
of a flat chisel, perhaps because the final state was not reached
at all. The other nine of these seated figures follow very
closely one simple system as far as technique is concerned.
After the primary processes were achieved with hammer and
punch, the .final detail seems to have been done on the relief
panels at the sides with flat chisel and the body surfaces with
a rubber of stone. The implications of this flat chisel work
will be dealt with below (p. 127). The face is preserved in the
case of B.271 only, but is too weathered to give any clear indica-
tions . Possibly the chisel was used on it, but this is not certain.
Statues other than the seated figures of Miletus which
throw a considerable light upon the technique of this
regional group are as follows:
From Samos (from the excavations at the Heraeum in
1928-30). (Neue Deutsche Ausgrabungen, 1930, PI. 6 and
j=i and 3 below):
1. A reclining figure leaning on a cushion. From the
Heraeum at Samos. In splendid condition.
2. A standing female figure whose right hand clasps part
of her chiton; with her feet side by side (Fig. 38).
3. A similar figure to No. 2 with the hand clasping the
chiton in the same way but with the left foot slightly
forward.
4. A figure similar to Nos. 2 and 3 but very badly
weathered.
From Samos (from earlier excavations).
5. The Hera of Cheramyes now in the Louvre, from
Samos. In Naxian marble.
From the Acropolis of Athens.
6. No. 677 in the Acropolis Museum. A bust in Naxian
marble from the Acropolis.