DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.42779#0173
ii8 MARBLE SCULPTURE IN THE ROUND
be considered as one of the most effective and beautiful ever
invented by the Greek sculptor. In effect, as we have seen
from previous chapters, it is a normal development from
what in origin are the methods and technique of the Stone
Age, perpetuated and adapted to the needs of a perfected
and sophisticated culture. To-day there has been no super-
session in sculpture of these Neolithic methods. Their
effectiveness has not yet been surpassed by any of the inven-
tions of a mechanical age.
But in the sixth century, after a time, there arose a demand
for greater complexity in ornament and drapery in the carving
of statues. Sculptors and their customers discovered in the
intricacies of Ionian garments a new source of pleasure,
perhaps to the detriment of invention in the larger sense of
new attitudes and new compositions. For a decade or so
after 550 we find a concentration of interest in the drapery
detail of statues which leads in turn to a gradual increase of
relief and an abandonment of the flatness of the preceding
technique. But at first the older methods were still used and
the higher relief was achieved merely by an elaboration of
the old technical processes. The last group dealt with above
was achieved without recourse to any new tools.
But now the new demands for higher relief and new effects
at last introduced a new tool—the simple drill. This instru-
ment we can consider as having four possible forms, all of
which were known to Greek lands from the Middle Minoan
period at least, though only for structural purposes in
sculptural stonework or as the tools of the gem-cutter.
These four forms are as follows:
(1) The auger-drill, used like a bradawl by hand-pressure
and hand-revolution. Small shallow holes could be rapidly
cut by it.
(2) The carpenter’s drill, or brace-bit. This was so used that
the pressure came from the weight of the body, the user
leaning or pressing against the knobbed end. The revolu-
tion of the drilling point was done by turning at any pace
be considered as one of the most effective and beautiful ever
invented by the Greek sculptor. In effect, as we have seen
from previous chapters, it is a normal development from
what in origin are the methods and technique of the Stone
Age, perpetuated and adapted to the needs of a perfected
and sophisticated culture. To-day there has been no super-
session in sculpture of these Neolithic methods. Their
effectiveness has not yet been surpassed by any of the inven-
tions of a mechanical age.
But in the sixth century, after a time, there arose a demand
for greater complexity in ornament and drapery in the carving
of statues. Sculptors and their customers discovered in the
intricacies of Ionian garments a new source of pleasure,
perhaps to the detriment of invention in the larger sense of
new attitudes and new compositions. For a decade or so
after 550 we find a concentration of interest in the drapery
detail of statues which leads in turn to a gradual increase of
relief and an abandonment of the flatness of the preceding
technique. But at first the older methods were still used and
the higher relief was achieved merely by an elaboration of
the old technical processes. The last group dealt with above
was achieved without recourse to any new tools.
But now the new demands for higher relief and new effects
at last introduced a new tool—the simple drill. This instru-
ment we can consider as having four possible forms, all of
which were known to Greek lands from the Middle Minoan
period at least, though only for structural purposes in
sculptural stonework or as the tools of the gem-cutter.
These four forms are as follows:
(1) The auger-drill, used like a bradawl by hand-pressure
and hand-revolution. Small shallow holes could be rapidly
cut by it.
(2) The carpenter’s drill, or brace-bit. This was so used that
the pressure came from the weight of the body, the user
leaning or pressing against the knobbed end. The revolu-
tion of the drilling point was done by turning at any pace