A Guide to the Sculptures of the Parthenon in the British Museumorder of the Trustees, 1908 - 134 pages |
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Page 19
... four horses ' heads , two of which still remain in position on the temple , at the back of the pediment . The two which are here are sculptured in the round out of one block of marble . They are represented emerging from the waves ...
... four horses ' heads , two of which still remain in position on the temple , at the back of the pediment . The two which are here are sculptured in the round out of one block of marble . They are represented emerging from the waves ...
Page 34
... four figures , A , B , C , and D ( ? ) , are shown in position on the pediment in Dalton's Plate ( pl . iii . ) . In the intervening middle space two torsoes are lying on the floor of the pediment . One of these is probably the Poseidon ...
... four figures , A , B , C , and D ( ? ) , are shown in position on the pediment in Dalton's Plate ( pl . iii . ) . In the intervening middle space two torsoes are lying on the floor of the pediment . One of these is probably the Poseidon ...
Page 37
... four fingers of the left hand overlapping the edge of the pediment . In the original drawing , however , this appears to be conjectural , and the left hand was evidently placed too far back . A small attribute , probably of marble , was ...
... four fingers of the left hand overlapping the edge of the pediment . In the original drawing , however , this appears to be conjectural , and the left hand was evidently placed too far back . A small attribute , probably of marble , was ...
Page 65
... four years . On its ground , which is described as dark violet and also as saffron - coloured , was interwoven the battle of the Gods and the Giants , in which Zeus and Athenè were represented . It was used to drape the rude wooden ...
... four years . On its ground , which is described as dark violet and also as saffron - coloured , was interwoven the battle of the Gods and the Giants , in which Zeus and Athenè were represented . It was used to drape the rude wooden ...
Page 66
... four years . They manage the Panathenaic procession and the musical and gymnastic contests , and the horse racing . In conjunction with the assembly , they see to the making of the peplos , and the amphoras , and give the olive oil to ...
... four years . They manage the Panathenaic procession and the musical and gymnastic contests , and the horse racing . In conjunction with the assembly , they see to the making of the peplos , and the amphoras , and give the olive oil to ...
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.