Stone angel

[Paul Crabtree <psqt@xxxxxxxxx>]

I've just been reading through the list discussion about
stone Angels with some interest.

Portland stone is an oolitic limestone (a matrix of tiny
spheres of calcium carbonate) that allows the stone to
be carved in very fine detail, in any direction.  The
stones weathering properties are extremely good - and
although the surface colour will change with time in the
outdoors, this adds to the surface quality of the
finished work.  In an acid environment - in a city with
high levels of air pollution - Portland stone becomes
self cleaning where it is exposed to rainfall - so you
will eventually have contrasting light and dark
weathered areas on the surface of the stone.  Portland
also develops a harder outer skin when exposed to the
atmosphere over a period of time - I've heard it said
that the surface will weather back at under a centimeter
per 100 years.  If you look at some of the older
buildings in London (for example) you can see evidence
of this weathering - where the fossil content of the
stone is now slightly proud of the overall surface.

Portland stone also responds amazingly well to changes
in the quality of light - changing in appearance through
whites/blues/greys/pinks and orange according to the
time of day.  The quality of shadow that can be created
within the stone is also exceptional - so that the
finest of tools marks will create a definite line when
the natural light falls in a particular direction.  This
quality is very important to the people attending course
here - changing the surface quality of the stone as the
day progresses and informing decisions that are made
about the actual form that is being carved.

The stone has even been likened to 'modelling with a
block of light'- so that the whole process of carving
can be seen about creating shadow that describes form.
Local stonemasons and carvers refer to the quality of
shadow as 'colour' - so by creating deepr shadow, you
add more 'colour' to the work.  If you work with the
stone indoors, under flourescent or tungsten light - I
feel that it becomes much more difficult to see
sculptural forms emerge, even under strong light from
one direction only.

How will the qualities of the stone used for the angel
affect the appearance of the finished carving?  It's not
just about the carvability of the stone, or weathering
properties - the stone itself has an actual aesthetic
and physical presence and can evoke a range of reponses.

I feel that granites have a heavy/serious quality with
surfaces that sparkle, but remain hard and unyielding.

Marbles may have funerial and religious associations
within paticular cultures.

Oolitic Limestones may have a gentle quality that
reflects there formation under shallow tranquil seas
bathed in sunlight (the sunlight caused the calcium
carbonate to be deposited gently on the sea bed) + the
stone carries traces of very early life forms.

Soapstones and Alabasters may be highly figured and have
transluscent qualites - this might evoke an
etherial/spiritual quality in the finished work.  It
would be interesting to exchange views on individual
reponses to the qualities and sense of presence of
different stones.

What is our idea of the qualities that Angels might
have?  If they were seen as being full of light, for
example, how would this be translated into a solid three
dimensional form in stone?  Could the Angel be seen as
passive and healing or as having both strength and
protecting qualities? I'm sure that there must be many
different views on this.

Paul Crabtree.