DOI Page / Citation link:
https://doi.org/10.11588/diglit.42779#0182
FROM ABOUT 540 b.c. TO ABOUT 475 b.c. 125
The drapery lines, as in the Antenor kore, are done by
strong and clear abrasion and not with the chisel. The locks
of hair which hang over the shoulders are filed across hori-
zontally with an abrasive stone (or possibly, though not
probably, with a heavy metal file). This again brings it into
close analogy with the Antenor kore, which has precisely
the same locks rendered in the same way.
The other Delphian pedimental kore,1 which is better
preserved and more complete, has the same drill-holes and
exactly the same filed hair-locks.
Both in common have their under-chiton rendered in long
sweeping lines as in the Antenor kore.
The acroterial figure,2 which was winged, shows the use
of a fairly heavy drill in the drapery folds, but the drill is
not so large as that used on the preceding two figures or in
the Antenor kore. The hair is filed in the same way as the
other two, but the grooves are smaller. The rest is abraded.
The differences, in fact, are differences of degree rather than
of quality. All three are certainly in the manner of the
Antenor kore.
Decline of use of drill. After the turn of the century, the drill,
so extensively used from 510 to 500, seems to fall out of
fashion. Why this is so it is difficult to say. The tendency
towards a flatter style in drapery and the loss of interest in
drapery as such, which is evident in works like the Nike
No. 694, made it hard to find opportunities for using the
drill at all. It was the change of style which excluded the use
of the instrument—a reversal of the situation in the Samo-
Naxian school, where it was the technique which conditioned
the style.
Consequently draped figures of the kore type which
belong to the period 495-475, avoid the use of the drill
completely. The Euthydikos kore, No. 686, the similar
smaller kore No. 688, and the recently discovered flying
figure from Eleusis, sometimes called Persephone, all alike
1 Ibid. (left). 2 Ibid, (centre).
The drapery lines, as in the Antenor kore, are done by
strong and clear abrasion and not with the chisel. The locks
of hair which hang over the shoulders are filed across hori-
zontally with an abrasive stone (or possibly, though not
probably, with a heavy metal file). This again brings it into
close analogy with the Antenor kore, which has precisely
the same locks rendered in the same way.
The other Delphian pedimental kore,1 which is better
preserved and more complete, has the same drill-holes and
exactly the same filed hair-locks.
Both in common have their under-chiton rendered in long
sweeping lines as in the Antenor kore.
The acroterial figure,2 which was winged, shows the use
of a fairly heavy drill in the drapery folds, but the drill is
not so large as that used on the preceding two figures or in
the Antenor kore. The hair is filed in the same way as the
other two, but the grooves are smaller. The rest is abraded.
The differences, in fact, are differences of degree rather than
of quality. All three are certainly in the manner of the
Antenor kore.
Decline of use of drill. After the turn of the century, the drill,
so extensively used from 510 to 500, seems to fall out of
fashion. Why this is so it is difficult to say. The tendency
towards a flatter style in drapery and the loss of interest in
drapery as such, which is evident in works like the Nike
No. 694, made it hard to find opportunities for using the
drill at all. It was the change of style which excluded the use
of the instrument—a reversal of the situation in the Samo-
Naxian school, where it was the technique which conditioned
the style.
Consequently draped figures of the kore type which
belong to the period 495-475, avoid the use of the drill
completely. The Euthydikos kore, No. 686, the similar
smaller kore No. 688, and the recently discovered flying
figure from Eleusis, sometimes called Persephone, all alike
1 Ibid. (left). 2 Ibid, (centre).