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A Guide to the Sculptures of the Parthenon in the British Museum
Arthur Hamilton Smith
No preview available - 2018
A Guide to the Sculptures of the Parthenon in the British Museum: A ...
A. H. Smith
No preview available - 1999
A Guide to the Sculptures of the Parthenon in the British Museum (1908)
Arthur Hamilton Smith
No preview available - 2008
Apollo appears archaic artist Athenian Athens attached belong body British bronze called Carrey Carrey's drawing cast Centaur central century B.C. chariot collection column Compare complete contains decoration deities described drapery drawing drawn early east Elgin engraved Etruscan examples exhibited female figure foot four fragments frieze front gives Greek ground half hand head Heracles holding horses indicate inscription Italy known Kylix Lapith later lion lower marble marked metopes Michaelis middle mould Museum objects original ornaments painted Parthenon pediment perhaps period Persian piece placed Plate Poseidon position present principal probably procession relief remains represented restored Roman Room scene sculptures seated seems seen shoulder shown shows side slab South standing statue style suggested supposed taken temple terracotta tomb upper various vases Victory wall wears west pediment winged youth
Page 112 - The composition is supposed to represent, on the obverse, the meeting of Peleus and Thetis on Mount Pelion, and on the reverse, Thetis consenting to be the bride of Peleus. in the presence of Poseidon and Eros. On the bottom of the vase, which is detached, is a bust of Atys.
Page 94 - The most interesting characteristic of the figure I have so vividly before me is the look of painful thought, which seems to indicate a constant sense of overwhelming responsibilities, honourably felt and bravely borne, yet . . . ever irritating the nerves and weighing upon the conscience
Page 63 - Mausoleum. the extant remains, it is ascertained that the Mausoleum consisted of a lofty basement, on which stood an oblong edifice surrounded by thirty-six Ionic columns and surmounted by a pyramid of twentyfour steps. This was crowned by a four-horse chariot group in.
Page 26 - Minerva, ruined the whole. By purchasing the house of one of the Turkish janizaries, built immediately under and against the columns of the portico, and by demolishing it in order to excavate, lord Elgin has had the satisfaction of recovering the greatest part of the statue of Victory, in a drapery which discovers the fine form of the figure with exquisite delicacy and taste.
Page 9 - Parthenon) . . . should be all likely to perish as it were immaturely from ignorant contempt and brutal violence.
Page 92 - Room (p. 42), and a comparison of the two figures gives a clear idea of the difference between Greek and GraecoRoman art. The graceful spontaneity of the Greek maiden is in striking contrast with the formal convention of her Graeco-Roman. counterpart. To the right of the room are the following in order : — 74*.
Page 18 - In her left hand she held her spear and shield. Between her and her shield was the serpent Erichthonios. On her outstretched right hand was a winged Victory, six feet high, holding a wreath. The helmet of the goddess was adorned with a Sphinx and Gryphons,' two figures of Pegasus, and a row of small horses. All available spaces were covered with reliefs. In particular there was a battle between Greeks and Amazons (see below, no. 302) on the outside of the shield.