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GOLD AND IVORY
Art of Working in. The Greeks bad a peculiar process of making statues of their gods, in which the unclothed parts were of ivory, the hair and raiment of gold. It was applied exclusively to colossal statues, and was in special vogue in the 5th century B.C., when Phidias showed himself an unrivalled master in the art. A clay model was sawn into pieces, in correspondence with which the parts of the statue were composed of ivory plates, made by a process (now lost) of softening and extending the material. This was done by sawing, scrapmig, and filing. The separate pieces were then fastened with isinglass on a solid nucleus of clay, gypsum, or dried up wood. The next stop was to work over the surface of the ivory plates, to smooth over inequalities, and so on. Finally the gold portions, which had been finished separately, were laid on. Special care was required to keep the pieces of ivory together. Oil was much used to keep them in a state of preservation. The statue of Zeus by Phidias at Olympia was found, fifty or sixty years after it was finished, to be in so dislocated a state that a complete restoration was necessary [Pausanias V 11 § 10; iv 31 § 6].
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gutter splint
gutter splint
PLACE HOLDER FOR COUNTER
gutter splint