Hence when a
Greek bronze statue was copied in marble in Roman times, a
disfiguring support, not present in the original, had often to be
added (cf. Figs, 101, 104, etc.). The existence of such a support
in a marble work is, then, one reason among others for assuming a
bronze original. Other indications pointing the same way are
afforded by a peculiar sharpness of edge, e.g., of the eyelids and
the eyebrows, and by the metallic treatment of the hair. These
points are well illustrated by Fig. 76. Notice especially the
curls, which in the original would have been made of separate
strips of bronze, twisted and attached after the casting of the
figure.
Bronze reliefs were not cast, but produced by hammering. This is
what is called repousse work. These bronze reliefs were of small
size, and were used for ornamenting helmets, cuirasses, mirrors,
and so on.
(4) Gold and ivory. Chryselephantine statues, i.e., statues of
gold and ivory, must, from the costliness of the materials, have
been always comparatively rare.
Pages:
115
116
117
118
119
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139