The Sculptures of the Parthenon |
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Page 4
The most natural thing for a spectator to do after examining the preparation and
start on the west frieze was to turn to the left and pass round by the north side ,
where he would find himself close to many interesting objects on the Acropolis .
The most natural thing for a spectator to do after examining the preparation and
start on the west frieze was to turn to the left and pass round by the north side ,
where he would find himself close to many interesting objects on the Acropolis .
Page 21
When we see on the east frieze a mortal standing with his back deliberately
turned towards deities apparently close beside him , we know that he is
unconscious of their presence , and similarly we may assume that this daughter
of Cecrops ...
When we see on the east frieze a mortal standing with his back deliberately
turned towards deities apparently close beside him , we know that he is
unconscious of their presence , and similarly we may assume that this daughter
of Cecrops ...
Page 62
The danger is close at hand . In one instance , 22 , the Lapith maiden is being
seized hold of at the very side of her two sisters , who approach the sacred image
for protection , 21 . Of these two , possibly the one on the right with her breast
bare ...
The danger is close at hand . In one instance , 22 , the Lapith maiden is being
seized hold of at the very side of her two sisters , who approach the sacred image
for protection , 21 . Of these two , possibly the one on the right with her breast
bare ...
Page 64
For instance , most of the metopes keep the forms of the Centaur and Lapith ,
though they are in close conflict , as separate as possible , the contours of each
figure showing against deep shadow . In some å instances the effect seems
spotty ...
For instance , most of the metopes keep the forms of the Centaur and Lapith ,
though they are in close conflict , as separate as possible , the contours of each
figure showing against deep shadow . In some å instances the effect seems
spotty ...
Page 65
The Lapith is pressed close to the Centaur in such a manner that the two together
convey the impression of a low relief , detachable from the background and
brought forward in a mass , as if the intention of the sculptor had been to get rid of
...
The Lapith is pressed close to the Centaur in such a manner that the two together
convey the impression of a low relief , detachable from the background and
brought forward in a mass , as if the intention of the sculptor had been to get rid of
...
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Common terms and phrases
Acropolis action already angle appear artistic Athens attitude beauty birth body British Museum called Carrey's drawing carry cast Centaur central centre chariot close compared composition cows deities detail drapery east effect equally existing extreme face fact feet figure folds foot fragment frieze front girls give gods gold Greek hand head holding horses Illustrations indicate instances interested ivory Lapith left arm left hand legs less look manner mantle marble metopes natural nearer north frieze notice nude Olympia original Parthenon pass Pheidias PLATE Poseidon possible present procession question raised recognise regards relief remains represent right hand round scene sculptured seated seems seen separate shield shoulders side Slab space standing statue suggested supposed temple turning vase west pediment whole wings woman women young youth Zeus
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 1 - WHEN the Parthenon stood forth complete on the Acropolis of Athens in or about the year 438 BC, there was no other building in the whole of Greece comparable even in the mere extent and variety of its sculptures.1 Imagine a frieze 522 feet in length sculptured all along with figures nearly half life size, in many parts densely crowded till the marble could carry no more, the whole in very low relief and executed with marvellous detail. Above the columns externally and round all the four sides of...
Page 2 - ... 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 the whole of the...
Page 1 - B. c., there was no other building in the whole of Greece comparable even in the mere extent and variety of its sculptures.1 Imagine a frieze 522 feet in length sculptured all along with figures nearly half life-size, in many parts densely crowded till the marble could carry no more, the whole in very low relief and executed with marvellous detail. 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...
Bibliographic information
| Title | The Sculptures of the Parthenon |
| Author | Alexander Stuart Murray |
| Publisher | J. Murray, 1903 |
| Original from | the University of Michigan |
| Digitized | 6 Jul 2006 |
| Length | 173 pages |
| Export Citation | BiBTeX EndNote RefMan |