Cold cast in raw and unblemished iron at 76th scale, these prototype models display the extraordinary details of the carving made by the builders. See the very large and small working lines and the polished faces.
From the back. Why did they leave the back so rough? Obviously, it takes a lot of time to shape the rocks, but when was ‘enough.’ Did they decide to spend say, an arbitrary 5 days/weeks on the reverse? Or was it enough to get to an ‘artistic’ shape? I mean was it a matter of resources or ’till its right?’ Leaving the rib in the centre of ‘skinny’ Stone 53 on the right and the long ribs on ‘fatty’ Stone 54 on the left makes them look ‘unfinished’ to my mind. What was the reason for stopping?Barely visible on the side of ‘skinny’ Stone 53 are transverse working lines. They are more pronounced in the final versions. These prototypes have less resolution on the sides. The slight angle of tilt can be seen here.The inside of Trilithon Two showing the polished faces. On the bottom right of ‘fatty’ Stone 54 are visible transverse working lines. Bashed with stone mauls.Inside Trilithon Two with the polished faces. The line of 18th-century graffiti is about eye level, just below are the dagger and axes. Carved, it is believed, around 3,800 – 3,500 years ago. Around the same time that most of the burial mounds in the local area went up.The ‘nose’ on ‘skinny’ Stone 53 is a rib from the working of the stone, it’s continued at the very top (more visible in the final version – these photos are of a prototype).
