Source Image: PR320_01_11 of Marks and Garland Frieze (Izmir) of Aphrodisias: South Agora

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Description

Detail of a block of the masks and garlands frieze from the South Agora at Aphrodisias, now in Izmir.

Monument: Aphrodisias: South Agora
Monument Part: Marks and Garland Frieze (Izmir)
Monument Type: Architecture
Material(s): Aphrodisian marble (Visual identification)
Date: bc None
Keywords: Mask, Garland, Entablature
Collections: Aphrodisias, Site and Museum

Location

Original Location: Izmir Archaeological Museum

Evidence for working practices

1. Toolmarks

Process: Roughing-out
Tool: Point
Method: Angle: Vertical (90°)
Force: Gentle
Description: This is one of the only one of these entablature blocks which reveals the roughed-out condition in which they were first carved. The side of this mask along the edge of the block has been left roughed-out, presumably for finishing in place, once all of the blocks were set up.

2. Toolmarks

Process: Rough shaping
Tool: Roundel
Description: The mask itself is worked with a slightly round-headed chisel.

3. Toolmarks

Process: Detailing
Tool: Drill
Description: Drilling is visible in the garland on the right but not the one on the left. This suggests that this two adjacent blocks were carved by separate carvers, which perhaps explains why the roughed-out section was left down one side of the mask: the close matching of the design across the joint between blocks could only have been done in place.

4. Block joint

Process: Placement
Description: All of the carving work visible on these blocks seems to have been done before the blocks were put in place. The planned final finishing work, including the carving along the joint between blocks, was not completed for some reason.

Notes

On many of the blocks of this mask and garland frieze, which are now split between Aphrodisias and the Archaeological Museum in Izmir, a difference in finish between the masks and garlands can be noted which might suggest a division of labour between specialist garland and figure carvers. There is also a marked difference in technique and quality between blocks, suggesting that a range of carvers were involved in this major municipal project.