A Guide to the Sculptures of the Parthenon in the British Museumorder of the Trustees, 1908 - 134 pages |
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Page 4
... CENTAURS METOPES PEDIMENT CONTEST OF ATHENE AND POSEIDON SCULPTURES in B.M. 0 CASTS in B. M 10 20 30 40 50 FEET Fig . 2. Plan of the Parthenon ( after Doerpfeld ) . The principal chamber ( Cella or Neōs Hekatompedos ) within. 4 ...
... CENTAURS METOPES PEDIMENT CONTEST OF ATHENE AND POSEIDON SCULPTURES in B.M. 0 CASTS in B. M 10 20 30 40 50 FEET Fig . 2. Plan of the Parthenon ( after Doerpfeld ) . The principal chamber ( Cella or Neōs Hekatompedos ) within. 4 ...
Page 12
... Centaurs and Lapiths . The statue disappears from our view with the fall of paganism . Nos . 300-302 afford some of the materials for its reconstruction . Rough reproductions of the figure also occur on Attic reliefs , such as Nos . 771 ...
... Centaurs and Lapiths . The statue disappears from our view with the fall of paganism . Nos . 300-302 afford some of the materials for its reconstruction . Rough reproductions of the figure also occur on Attic reliefs , such as Nos . 771 ...
Page 48
... Centaur's features . Nos . 310 , 312 , are more free in style , but still exaggerate the grotesque . Nos . 305 , 307 , 308 , 316 , 317 are free in action and developed in style , the grotesque element is reduced , and pathos is ...
... Centaur's features . Nos . 310 , 312 , are more free in style , but still exaggerate the grotesque . Nos . 305 , 307 , 308 , 316 , 317 are free in action and developed in style , the grotesque element is reduced , and pathos is ...
Page 49
... Centaur , clasping his head with his left arm , and pressing the fingers of his left hand against his windpipe . The Centaur has been thrown on his right knee ; his head is forced back , his mouth wide open as if uttering a cry of agony ...
... Centaur , clasping his head with his left arm , and pressing the fingers of his left hand against his windpipe . The Centaur has been thrown on his right knee ; his head is forced back , his mouth wide open as if uttering a cry of agony ...
Page 50
... Centaur's tail is unfinished . The head of the Centaur still existed when Carrey drew this metope ( fig . 15 ) , but had disappeared before the time of Stuart . Sculptures of Parthenon , pl . 17 , fig . 1 ; Mus . Marbles , VII . , pl ...
... Centaur's tail is unfinished . The head of the Centaur still existed when Carrey drew this metope ( fig . 15 ) , but had disappeared before the time of Stuart . Sculptures of Parthenon , pl . 17 , fig . 1 ; Mus . Marbles , VII . , pl ...
Other editions - View all
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 Arthur Hamilton Smith No preview available - 2015 |
Common terms and phrases
Acropolis Amazon Amphora Aphroditè Apollo archaic Artemis artist Athenian Athens black-figure British Museum bronze Brunn bust Carrey's drawing cast Cecrops Centaur chariot chariot group contains decoration deities Denkmaeler Dionysos drapery drawn by Carrey east Elgin Room engraved Enkomi Etruscan Euphronios examples excavations female figure fifth century B.C. fragments Furtwaengler gems goddess Graeco-Roman Greek Greek and Roman ground Halicarnassos head Heracles Hermes horses Ialysos inscribed inscription kylikes Kylix Lapith left arm left hand lion Lord Elgin Lycia Maenads maidens male figure Mansell marble metopes Michaelis mould Mycenaean Mycenaean period north frieze objects original ornaments painted palmette Panathenaic pediment peplos Pheidias Plate Poseidon probably procession red-figure relief represented right arm right hand sarcophagus scarabs scene Sculptures of Parthenon seated shoulder side slab South statue statuettes style Table-case tablet temple terracotta Theseus tomb torso upper Vase Room Victory Wall-cases ware west pediment winged Zeus
Popular passages
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.