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from Egypt than invented independently.
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In producing a bronze statue it is necessary first to make an
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exact clay model. This done, the usual Greek practice seems to
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have been to dismember the model and take a casting of each part
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separately. The several bronze pieces were then carefully united
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by rivets or solder, and small defects were repaired by the
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insertion of quadrangular patches of bronze. The eye-sockets were
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always left hollow in the casting, and eyeballs of glass, metal,
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or other materials, imitating cornea and iris, were inserted.
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[Footnote: Marble statues also sometimes had inserted eyes]
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Finally, the whole was gone over with appropriate tools, the hair,
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for example, being furrowed with a sharp graver and thus receiving
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a peculiar, metallic definiteness of texture.
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A hollow bronze statue being much lighter than one in marble and
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much less brittle, a sculptor could be much bolder in posing a
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figure of the former material than one of the latter. Hence when a
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Greek bronze statue was copied in marble in Roman times, a
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disfiguring support, not present in the original, had often to be
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added (cf. Figs, 101, 104, etc.). The existence of such a support
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in a marble work is, then, one reason among others for assuming a
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bronze original. Other indications pointing the same way are
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afforded by a peculiar sharpness of edge, e.g., of the eyelids and
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the eyebrows, and by the metallic treatment of the hair. These
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points are well illustrated by Fig. 76. Notice especially the
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curls, which in the original would have been made of separate
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strips of bronze, twisted and attached after the casting of the
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figure.
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Bronze reliefs were not cast, but produced by hammering. This is
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what is called repousse work. These bronze reliefs were of small
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size, and were used for ornamenting helmets, cuirasses, mirrors,
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and so on.
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(4) Gold and ivory. Chryselephantine statues, i.e., statues of
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gold and ivory, must, from the costliness of the materials, have
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been always comparatively rare. Most of them, though not all, were
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temple-images, and the most famous ones were of colossal size. We
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are very imperfectly informed as to how these figures were made.
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The colossal ones contained a strong framework of timbers and
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metal bars, over which was built a figure of wood. To this the
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gold and ivory were attached, ivory being used for flesh and gold
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for all other parts. The gold on the Athena of the Parthenon (cf.
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page 186) weighed a good deal over a ton. But costly as these
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works were, the admiration felt for them seems to have been
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untainted by any thought of that fact.
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(5) Terra-cotta. This was used at all periods for small figures, a
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few inches high, immense numbers of which have been preserved to
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us. But large terra-cotta figures, such as were common in Etruria,
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were probably quite exceptional in Greece.
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Greek sculpture may be classified, according to the purposes which
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it served, under the following heads:
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(1) Architectural sculpture. A temple could hardly be considered
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complete unless it was adorned with more or less of sculpture. The
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chief place for such sculpture was in the pediments and especially
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in the principal or eastern pediment. Relief-sculpture might be
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applied to Doric metopes or an Ionic frieze. And finally, single
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statues or groups might be placed, as acroteria, upon the apex and
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lower corners of a pediment. Other sacred buildings besides
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temples might be similarly adorned. But we hear very little of
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sculpture on secular buildings.
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(2) Cult-images. As a rule, every temple or shrine contained at
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least one statue of the divinity, or of each divinity, worshiped
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there.
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(3) Votive sculptures. It was the habit of the Greeks to present
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to their divinities all sorts of objects in recognition of past
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favors or in hope of favors to come. Among these votive objects or
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ANATHEMETA works of sculpture occupied a large and important
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place. The subjects of such sculptures were various. Statues of
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the god or goddess to whom the dedication was made were common;
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but perhaps still commoner were figures representing human
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