The Sculptures of the ParthenonJ. Murray, 1903 - 173 pages |
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... central groups . Of the north metopes , the one that has best survived is given by itself . ( 3 ) As regards the two pediments , we reproduce Carrey's drawings of the sculptures as he saw them in the seventeenth century , in each case ...
... central groups . Of the north metopes , the one that has best survived is given by itself . ( 3 ) As regards the two pediments , we reproduce Carrey's drawings of the sculptures as he saw them in the seventeenth century , in each case ...
Page 2
... central figures colossal . Lastly , inside the Parthenon was the stupendous statue of Athenè herself in gold and ivory by Pheidias . It was he who directed the whole of the work.1 The greater the extent and variety of the sculptures the ...
... central figures colossal . Lastly , inside the Parthenon was the stupendous statue of Athenè herself in gold and ivory by Pheidias . It was he who directed the whole of the work.1 The greater the extent and variety of the sculptures the ...
Page 13
... central group of commanding importance , whose action is being watched by persons who represent the locality and are interested in the result . Next , in order of time , came the Parthenon pediments . There also we find the new ...
... central group of commanding importance , whose action is being watched by persons who represent the locality and are interested in the result . Next , in order of time , came the Parthenon pediments . There also we find the new ...
Page 15
... central group , except as interested spectators . It seems inconceivable that these figures so ostentatiously cut off from the central group can be deities SUBJECT AND COMPOSITION 15.
... central group , except as interested spectators . It seems inconceivable that these figures so ostentatiously cut off from the central group can be deities SUBJECT AND COMPOSITION 15.
Page 16
... central group . And first it will be of interest to notice a Greek vase in St. Petersburg on which is painted the contest of Athene and Poseidon ( Pl . II . , Fig . 2 ) . In the centre between them is an olive tree with the serpent of ...
... central group . And first it will be of interest to notice a Greek vase in St. Petersburg on which is painted the contest of Athene and Poseidon ( Pl . II . , Fig . 2 ) . In the centre between them is an olive tree with the serpent of ...
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Common terms and phrases
Acropolis Acropolis of Athens action Alcamenes angle Aphroditè apobates appear artistic Athenè Athenians attitude beauty birth of Athenè body British Museum Carrey's drawing carry cast Cecrops Centaur Centaurs and Lapiths central group central metopes centre chariot chariot group chiton colossal composition cows deities drapery east frieze effect Elgin Room Ergastinae figure folds fore leg front girls goddess gods gold and ivory Greek head helmet Hephaestos Hera horses Ilissos instances knee Lapith left arm left hand long sides Lord Elgin mantle marble Michaelis nearer north frieze north side nude form Olympia original in Athens Parthenon frieze Pausanias peplos Pheidias Poseidon possible present procession raised recognise represent right arm right hand scene sculptured seated seen shield shoulders Slab south metopes south side spectator statue of Athenè statuette temple Theseus turning round vase west frieze west pediment whole wings woman women xoanon youth Zeus at Olympia
Popular passages
Page 118 - I trust, from ever forgetting—what is meant by the virtue of handling in sculpture. The projection of the heads of the four horses, one behind the other, is certainly not more, altogether, than three-quarters of an inch from the flat ground, and the one in front does not in reality project more than the one behind it, yet, by mere drawing,* you see the sculptor has got them to appear to recede in due order, and by the soft rounding of the flesh surfaces, and modulation of the veins, he has taken...
Page 118 - The projection of the heads of the four horses one behind the other is certainly not more altogether than three-quarters of an inch from the flat ground, and the one in front does not in reality project more than the one behind it, yet by mere drawing you see the sculptor has got them to appear to recede in due order, and by the soft rounding of the flesh surfaces and modulation of the veins he has taken away all look of flatness from the necks. He has drawn the eyes and nostrils with dark incision,...
Page 33 - Gr. Vasenmalerei iii. 33 ff. pl. 126].... It is true that the Greeks generally and Pheidias in particular regarded the east as on their left hand. On the base of his statue of Zeus at Olympia, representing the birth of Aphrodite, the sun was seen rising on the 'extreme left, the moon retiring on the right (Pausanias, v. 1 1, [8]), and on the base of his Athene in the Parthenon itself the same phenomenon occurs, if we may judge from the Lenormant copy of the statue.... But granting that this was a...
Page 119 - ... eyes and nostrils with dark incision, careful as the finest touches of a painter's pencil : and then, at last, when he comes to the manes, he has let fly hand and chisel with their full force, and where a base workman, (above all, if he had modelled the thing in clay first,) would have lost himself in laborious imitation of hair, the Greek has struck the tresses out with angular inci* This plate has been executed from a drawing by Mr.
Page 2 - Above the columns externally and round all the four sides of the temple were ninety two metopes, each consisting of a group of two figures two-thirds life size, in the highest possible relief, and full of the most beautiful workmanship. Within each of the two pediments or gables was an immense group of statues, the smallest equal to life size, the central figures colossal. Lastly, inside the Parthenon was the stupendous statue of Athene herself in gold and ivory by Pheidias. It was he who directed...