The Sculptures of the Parthenon |
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Page
The name most appropriate for each figure may be argued interminably . But all
these discussions revolve round the simple question , Are the figures in the
angles of both pediments deities of Olympos , or beings associated with the
legendary ...
The name most appropriate for each figure may be argued interminably . But all
these discussions revolve round the simple question , Are the figures in the
angles of both pediments deities of Olympos , or beings associated with the
legendary ...
Page 8
All we know of Alcamenes points to his excellence in single statues of deities .
Pheidias , on the other hand , was renowned for the wealth and splendour of his
imagination . The combination of such a master and such a pupil was everything
...
All we know of Alcamenes points to his excellence in single statues of deities .
Pheidias , on the other hand , was renowned for the wealth and splendour of his
imagination . The combination of such a master and such a pupil was everything
...
Page 11
There we have still the protagonists in the centre , with an invisible deity between
them ; but the two flanks of the ... to stay the combat , we have in each pediment
of the Parthenon a central group of deities acting and reacting on each other .
There we have still the protagonists in the centre , with an invisible deity between
them ; but the two flanks of the ... to stay the combat , we have in each pediment
of the Parthenon a central group of deities acting and reacting on each other .
Page 15
Within this group there was a further division , consisting of the two deities
themselves , represented at that stage of the contention between them when
Athenè had produced her olive tree on the Acropolis and Poseidon had made his
spring of ...
Within this group there was a further division , consisting of the two deities
themselves , represented at that stage of the contention between them when
Athenè had produced her olive tree on the Acropolis and Poseidon had made his
spring of ...
Page 16
ostentatiously cut off from the central group can be deities . By their presence
they indicate the permanent effects of the momentary dispute of the deities on the
district in question — that is , Attica . The produce of the land , especially olive ...
ostentatiously cut off from the central group can be deities . By their presence
they indicate the permanent effects of the momentary dispute of the deities on the
district in question — that is , Attica . The produce of the land , especially olive ...
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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 |