Renaissance Sculpture : Lost Techniques

So in one of the previous videos I opened the discussion about certain statues which we are told that the sculptors made them out of stone but when you look at this mesh you start wondering how did he hit the stone and the explanations that they give to people officially like they were rubbing it with pumice. I tried it myself it doesn't work at all. So actually I got interesting replies from couple of historians who told me that actually even as recent as one generation ago they were teaching completely different things to the art history students that these statues were indeed cast out of geopolymer or so to say artificial stone. They were not made by chiseling a piece of hard rock. One of the replies I got in this regard was I believe from a very senior art historian in Poland who still remembered that when she was young they would teach completely different stuff to the art historians and it is only recently that they simply changed the curriculum and started telling the people all this is chiseled out. People from America also wrote me those who remembered old times the same story and looking at the actual artifacts it becomes clear that what they were teaching before corresponds to the reality. What did they chisel this with? Needles? And since the penguins are paid and lured with cheap penguin food to keep us in increasingly deeper ignorance now they started teaching different things to the art students that these were things made out of solid rock. Here somebody took images of an ancient statue as they were taking it out of the ground. So you can see the armature inside. It was cast. A lot of casting was going on in antiquity. But casting alone doesn't explain everything. Often we see layers upon layers of very fine and detailed lace. That's why casting in a pre-ready mold at least the way we do it nowadays cannot explain all the statues. Most of them but not all. One very common thing for many ancient and historic statues from other periods is that they have these tiny drill holes. Really lots of them. So a very interesting observation was made by a worker who works in a modern factory which uses a 3d printer. The thing is that the modern 3d printers are not perfect and sometimes they do make mistakes. And this is how defective pieces look like. These small holes appear on them although they were not planned. They were not supposed to be there. It's quite interesting that they look exactly like the small holes on the old statues. Now drill holes by themselves don't necessarily point towards any advanced machining. These are some simple tools that could do the job. But when we see the holes on fine pieces like this, the question arises. So the artist here really took care to even make the pupils, even hairs on the eyebrows, locks of hair. And then everything is spoiled by these rough holes. If these holes were on some very rough statue, yeah, they could be consistent with the overall quality of the work. But if somebody was indeed spending countless hours of manual work to do these super fine statues, we would have expected that he would have been much more careful not to let these ugly holes spoil everything. But that is if these pieces were a product of countless hours of manual work. If they were manufactured with a machine, then everything falls into place. These holes were simply defects and they look exactly like the defects that the modern 3D printers leave. I personally can't imagine how could relatively simple people produce 3D printers, which doesn't mean it's not possible. But maybe all these statues, actually most of the historic sculptures we see in the museums, by far most of them, are probably not historic at all. Or they belong to relatively very recent historic periods, when they were cooking up the false history, which we are taught in school, just to have something historic to exhibit. Or maybe to replace the uncomfortable, hidden or destroyed real artifacts. In this curious 19th century book about the various mediums and techniques used in art, there is an entire chapter about softening stone. They say, chiseling hard stone is boring, let's cut it with knife like butter. And then they mention certain Ferdinand de Bellevue, who apparently knew which type of stone in what kind of oven should be put, so that it becomes like modeling clay. Interestingly enough, even when it cools down, the stone will remain like clay, so soft, until you don't put some other substance on it. They don't give the exact recipe in this book, but this is a technical book, it's not a fantasy book. But later on they continue giving more details about softening stone using the fire of some special gases. I wouldn't be surprised if the famous Peruvian mystery megaliths were erected using some similar softening technique. So from this and a few other printed edition of those times, which I'm going to show you shortly, it really becomes clear that what these senior art historians wrote me by email is the absolute truth. Just a couple of generations ago this was common knowledge and it was not even hidden, it would appear openly in the print. A lot of what we now call chiseled statues were actually cast statues. Another excellent example the statue of the Monferran character from Saint Petersburg. The penguins have prepared an answer for those who may wonder how was this made. On the plate in front of the statue they list the names of the natural stones of which this statue is made. In the modern specialized literature they even have very detailed story about the quarries from which the stones allegedly came and other very minor details of how everything was made. All kinds of gossip details except how exactly did they make it. So that's the explanation offered by the modern penguins. Let's see what people wrote about it 200 years ago, which was more or less the times when such statues were still being made. The title of the book is about the importance of chemistry in the fields of science and art. Here they say that the granite for all these marvelous pieces of art was made by mixing various ingredients and heating them to a specific temperature in a specific way. This is yet another book dating to the same period. You can download it for free in Russian, link in the description. Here they give the actual recipes for making all these stone mixtures. Not just one, there is a good choice of types of materials that you can choose from. And of course the contemporary descriptions of how people would make such statues are closer to the truth, obviously looking at the artifacts as well. And the statues are just a small fraction of the full picture. The entire Saint Petersburg and many other European palaces made at the same time have used the same technique of casting or plastering with such mixtures or other techniques, which we don't know about. Now we are told that these are marble slabs. It's kind of too thin to be a slab, it looks more like plastering. So why all this deliberate attempt to deceive us, to hide from us that in the past people knew how to soften stones, they knew the recipes of mixtures for making artificial stones and making apparently complex molds for such casting? After all, we ended up doing it with modern means anyway. Well, there are a couple of reasons for deceiving us in such a way. One of them is the obvious to perpetuate this illusion that people in the past were backwards and they didn't know as much as we do. But even a more important reason is that when we are told that hooray, hooray, we discovered recently how to make stones, mixtures, geopolymers, and we certainly do, but under the condition that the methods and the recipes are no longer ecological friendly, they're no longer accessible for the common people, you will always rely on central supplies or technology to be able to use this knowledge, you will always need some special ingredients, and you will not be able to create stuff as a free man, because always to get those ingredients or recipes or special tools, you will have to be a part of the digital slavery system in one form or another. While our forefathers, they were free, they could go out and dig the ingredients or find them out there in nature, and in return they didn't need to pollute and destroy this nature just to make their home or art out of these ingredients.