Universitätsbibliothek HeidelbergUniversitätsbibliothek Heidelberg
Metadaten

Hogarth, David G.; Smith, Cecil Harcourt [Contr.]
Excavations at Ephesus: the archaic Artemisia: Text — London, 1908

DOI Page / Citation link:
https://doi.org/10.11588/diglit.4945#0181

DWork-Logo
Overview
Facsimile
0.5
1 cm
facsimile
Scroll
OCR fulltext
170 The Archaic Artemisia of Ephesus.

48. Double axe (Labrys). Length '04 m., H. -oi8 m. The form is very
carefully carved, the two sides being brought to an
edge which is almost sharp. In the centre of the
upper side is fixed a loop of thin bronze wire, which
has much corroded; it is probably the oxide from
this which has imparted a rich bluish-green tinge to
this axe. The surface shows traces of working
Fig. 31.—ivory double axe over with what appears to have been a file.

(no. 48).

[Basis.]
49. Double axe, as preceding. Length -oi6 m., H. "oi m.
^taf^^ Also worked to a fine edge, pierced transversely through the
^^^B^J centre for a handle, of which no trace remains. Perhaps
once held in the hand of a goddess statuette, see p. 337.
Figdo&r£0ry [W. area.]
xxvii. (no'49)' 50. Fragments of a circular beading of three different sizes,

8 a, d, c. decorated with a pattern formed by pairs of transverse incisions in the outer
curved surface.

Ivory in all ages has ranked as a precious material, especially in
European countries, where its supply has depended upon importation either from
India or Africa. Its fragile and perishable nature moreover renders it easy of
destruction ; and these reasons are sufficient to account for the comparative
scarcity of ancient ivories which have survived to our times. The chrys-
elephantine sculpture of the fifth century B.C. must have had a pedigree going
back probably many centuries, but of the preceding stages out of which this
was evolved, we know almost nothing. The employment of ivory in thin slices,
as a veneer to cover a large surface of some other material, presents difficulties
which were probably not surmounted until a comparatively advanced stage of
art, but it was presumably used in this way already at an early period (as some of
the pieces in this series also show) for inlaying in small thin strips. For
carving in the round, its utility is for obvious reasons limited to objects of
small size; but this very fact, combined with its close texture, made it an
attractive material for the carving of delicate miniature work, as we see for
instance in the tiny statuette (No. 8), and in the plaque with the relief of the
goddess holding the lions (Xo. 35).

The desire to enhance the effect of the fine surface of ivory, either by tin
addition of gold or by colouring, has probably always been felt by artists. In
the Ephesus ivories the evidence of the employment of -old for this purpose is
 
Annotationen