The Sculptures of the ParthenonJ. Murray, 1903 - 173 pages |
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Page 8
... hand , was re- nowned for the wealth and splendour of his imagination . The combination of such a master and such a pupil was everything that could be desired , and , indeed , we are not surprised that comparisons have been made between ...
... hand , was re- nowned for the wealth and splendour of his imagination . The combination of such a master and such a pupil was everything that could be desired , and , indeed , we are not surprised that comparisons have been made between ...
Page 20
... hand rests . He was a being of a double nature — a man with the legs of a serpent . But the sculptor has here been content to indicate this by a serpent at his side . One of his daughters has rushed to him in alarm , casting herself on ...
... hand rests . He was a being of a double nature — a man with the legs of a serpent . But the sculptor has here been content to indicate this by a serpent at his side . One of his daughters has rushed to him in alarm , casting herself on ...
Page 22
... hand clasping her knee , and his mantle stretched between him and her . On her left was another boy , R , of whom we have no remains . Next comes an almost nude figure , S , sitting on the knees of a draped woman , T , who appears to be ...
... hand clasping her knee , and his mantle stretched between him and her . On her left was another boy , R , of whom we have no remains . Next comes an almost nude figure , S , sitting on the knees of a draped woman , T , who appears to be ...
Page 22
... hand and to the Pnyx on the other . In any case the beings who are first surprised by the divine contest are women and children . And of these the group on the left are un- mistakably the family of Cecrops . Of them we need say no more ...
... hand and to the Pnyx on the other . In any case the beings who are first surprised by the divine contest are women and children . And of these the group on the left are un- mistakably the family of Cecrops . Of them we need say no more ...
Page 26
... hand , as in late Greek and Roman art ; we may fairly be content if his nude form is resplendent with light , as becomes the representative of a river , on which the play of light is always one of its most characteristic features . It ...
... hand , as in late Greek and Roman art ; we may fairly be content if his nude form is resplendent with light , as becomes the representative of a river , on which the play of light is always one of its most characteristic features . It ...
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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...