DOI Page / Citation link:
https://doi.org/10.11588/diglit.42779#0183
126 MARBLE SCULPTURE IN THE ROUND
avoid the drill. Their drapery is simple, smooth and flat, a
reversion in style to the drapery of the earliest Attic work in
island marble of which No. 679 is typical. A figure of a kore
type of about 475 or even later, probably made in Sicily and
now in the Barracco Collection,1 also falls into this group.
But if the drill was definitely abandoned for a time, as a
reaction perhaps against its excessive use at the close of the
sixth century, its value is not forgotten. The group of works
which can for convenience be associated with the school of
Kritios and Nesiotes seem to have used it in the most careful
and eclectic way. But its use is relegated almost back again
to its old status of a structural instrument. It is used solely
in the hair for incidental purposes. Thus it is very slightly
used on the hair-rolls of the Kritian youth, No. 698 in the
Acropolis Museum. It is also used for piercing the centres
of forehead curls in the Este head.2
The same use for forehead curls continues into the Olym-
pian pedimental sculptures, where it is so used on the head
of the Lapith bitten by a Centaur3 and on the curls of
Sterope and on the Apollo. It is also used on the beard and
hair of the Seer (Fig. 48). On the whole I am inclined to
think that this usage of the drill is more frequent with
Peloponnesian sculptors than with Attic, for there is no trace
of such drill-work in head No. 698, which is contemporary
with the early work of Kritios.
Claw-chisel. The use of the claw-chisel is a question which
demands a certain scrutiny. From Blumel’s researches it
might be supposed that it was in regular use from the earliest
archaic times. But in fact the earliest unfinished work which
Bliimel himself describes does not show its use. Thus his
No. 2, an unfinished torso of the beginning of the sixth
century, has no trace of the claw and was worked solely with
1 No. 76 in the Museum.
2 Jahrb., 1920, PI. v™ I have examined this head in detail and feel con
vinced that it is an original and not a copy.
3 Bliimel, fig. 16. This was, of course, a very ancient practice; it is seen
on the Kleobis head, to mention only one early instance.
avoid the drill. Their drapery is simple, smooth and flat, a
reversion in style to the drapery of the earliest Attic work in
island marble of which No. 679 is typical. A figure of a kore
type of about 475 or even later, probably made in Sicily and
now in the Barracco Collection,1 also falls into this group.
But if the drill was definitely abandoned for a time, as a
reaction perhaps against its excessive use at the close of the
sixth century, its value is not forgotten. The group of works
which can for convenience be associated with the school of
Kritios and Nesiotes seem to have used it in the most careful
and eclectic way. But its use is relegated almost back again
to its old status of a structural instrument. It is used solely
in the hair for incidental purposes. Thus it is very slightly
used on the hair-rolls of the Kritian youth, No. 698 in the
Acropolis Museum. It is also used for piercing the centres
of forehead curls in the Este head.2
The same use for forehead curls continues into the Olym-
pian pedimental sculptures, where it is so used on the head
of the Lapith bitten by a Centaur3 and on the curls of
Sterope and on the Apollo. It is also used on the beard and
hair of the Seer (Fig. 48). On the whole I am inclined to
think that this usage of the drill is more frequent with
Peloponnesian sculptors than with Attic, for there is no trace
of such drill-work in head No. 698, which is contemporary
with the early work of Kritios.
Claw-chisel. The use of the claw-chisel is a question which
demands a certain scrutiny. From Blumel’s researches it
might be supposed that it was in regular use from the earliest
archaic times. But in fact the earliest unfinished work which
Bliimel himself describes does not show its use. Thus his
No. 2, an unfinished torso of the beginning of the sixth
century, has no trace of the claw and was worked solely with
1 No. 76 in the Museum.
2 Jahrb., 1920, PI. v™ I have examined this head in detail and feel con
vinced that it is an original and not a copy.
3 Bliimel, fig. 16. This was, of course, a very ancient practice; it is seen
on the Kleobis head, to mention only one early instance.