DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.9177#0133
viii SCULPTURE : MATERIAL, SPACE, COLOURING 113
being built up part by part, and the surface finished with the
file; Later the cire perdue process,1 which is that used by the
great sculptors of the Renascence, was introduced into Greece.
In this process the surface modelling is done in wax, which is
an even more delicate and perfect material than clay.
Fig. 22. — Kylix at Berlin.
(3) Sculpture in marble or stone. — This kind of sculpture
had from very early times been practised in Babylonia, Egypt
and Asia Minor, and even in Greece, as the lion gate of My-
cenae proves. But Dorians and Ionians seem to have redis-
covered it for themselves; for we can trace, from the beginning
1 See E. A. Gardner, Handbook of Greek Sculpture, Vol. I., p. 25.
I
being built up part by part, and the surface finished with the
file; Later the cire perdue process,1 which is that used by the
great sculptors of the Renascence, was introduced into Greece.
In this process the surface modelling is done in wax, which is
an even more delicate and perfect material than clay.
Fig. 22. — Kylix at Berlin.
(3) Sculpture in marble or stone. — This kind of sculpture
had from very early times been practised in Babylonia, Egypt
and Asia Minor, and even in Greece, as the lion gate of My-
cenae proves. But Dorians and Ionians seem to have redis-
covered it for themselves; for we can trace, from the beginning
1 See E. A. Gardner, Handbook of Greek Sculpture, Vol. I., p. 25.
I