DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.42779#0250
FOR WORKS IN HARD AND SOFT STONE 181
for all work in soft stone as the principal tool. It was used
apparently for much, if not most, of the primary work and
for all the final stages except the actual smoothing of the
stone with pumice or sandstone, which were preliminary to
the decoration with thick paint.
It has also been seen how the flat chisel was used in all
relief work which can be classed as low relief, with a conscious
knowledge that this particular instrument produces more
successfully a ‘flat’ technique. Those who deliberately
aimed at this particular aesthetic style favoured the flat
chisel.
But the chisel, like all tools that strike an oblique stroke,
works more rapidly than an instrument such as a punch.
Ten strokes of a flat chisel will remove as much material as
a hundred from a small punch. It is only natural therefore
to expect that the flat chisel will increase in use as the
demand for sculpture increases. The tremendous output
of tombstones carved in relief which began in Attica and in
many parts of central Greece in the second half of the fifth
century was the result of a demand which had originally been
stimulated by great public works in relief, such as the frieze
of the Parthenon. The domination of motif and style as seen
in the Parthenon frieze over the compositions of fifth- and
fourth-century grave reliefs is most marked.
The great demand for tombstones that increased steadily
until the close of the fourth century in some ways com-
mercialized the quality of the output. Reliefs were cut
rapidly, and originality of composition fell into a decline.
One class of relief in particular, the large urns decorated
with a small panel in relief, were cut exclusively with a flat
chisel. They form a definite class which continues the older
sixth-century tradition of very low relief. Like much sixth-
century work, the depth of relief in their designs rarely
exceeds one centimetre.
The popularity of the chisel in the latter part of the fifth
century was very great. Works like the Nike Balustrade
for all work in soft stone as the principal tool. It was used
apparently for much, if not most, of the primary work and
for all the final stages except the actual smoothing of the
stone with pumice or sandstone, which were preliminary to
the decoration with thick paint.
It has also been seen how the flat chisel was used in all
relief work which can be classed as low relief, with a conscious
knowledge that this particular instrument produces more
successfully a ‘flat’ technique. Those who deliberately
aimed at this particular aesthetic style favoured the flat
chisel.
But the chisel, like all tools that strike an oblique stroke,
works more rapidly than an instrument such as a punch.
Ten strokes of a flat chisel will remove as much material as
a hundred from a small punch. It is only natural therefore
to expect that the flat chisel will increase in use as the
demand for sculpture increases. The tremendous output
of tombstones carved in relief which began in Attica and in
many parts of central Greece in the second half of the fifth
century was the result of a demand which had originally been
stimulated by great public works in relief, such as the frieze
of the Parthenon. The domination of motif and style as seen
in the Parthenon frieze over the compositions of fifth- and
fourth-century grave reliefs is most marked.
The great demand for tombstones that increased steadily
until the close of the fourth century in some ways com-
mercialized the quality of the output. Reliefs were cut
rapidly, and originality of composition fell into a decline.
One class of relief in particular, the large urns decorated
with a small panel in relief, were cut exclusively with a flat
chisel. They form a definite class which continues the older
sixth-century tradition of very low relief. Like much sixth-
century work, the depth of relief in their designs rarely
exceeds one centimetre.
The popularity of the chisel in the latter part of the fifth
century was very great. Works like the Nike Balustrade