The Sculptures of the Parthenon |
From inside the book
Results 1-5 of 38
Page 8
... treatment of the drapery . Yet who knows but Pheidias himself had advanced
on the same lines as his pupil , bestowing on individual figures or groups charms
of detail which were not really required by their function in a great composition ?
... treatment of the drapery . Yet who knows but Pheidias himself had advanced
on the same lines as his pupil , bestowing on individual figures or groups charms
of detail which were not really required by their function in a great composition ?
Page 22
... a Lapith in one of the south metopes ; that the drapery of the figure Q is very
beautifully sculptured ; and that we possess in the Museum a large draped
fragment which may be one of the thighs of T , also very finely sculptured ( Pl . IV .
, Fig .
... a Lapith in one of the south metopes ; that the drapery of the figure Q is very
beautifully sculptured ; and that we possess in the Museum a large draped
fragment which may be one of the thighs of T , also very finely sculptured ( Pl . IV .
, Fig .
Page 27
It may be argued that this treatment of the drapery is mere negligence ; if so , it is
negligence in the right place for once . He is excited by the contest of the two
deities , and raises himself in his channel , pulling back his left foot and raising
his ...
It may be argued that this treatment of the drapery is mere negligence ; if so , it is
negligence in the right place for once . He is excited by the contest of the two
deities , and raises himself in his channel , pulling back his left foot and raising
his ...
Page 28
Her drapery at the back is finely if simply rendered . We are willing to accept her
as the local fountain , Callirrhoè . Thus the great shock of the deities in the centre
vibrates through every figure to the remote angles . The unity of the whole ...
Her drapery at the back is finely if simply rendered . We are willing to accept her
as the local fountain , Callirrhoè . Thus the great shock of the deities in the centre
vibrates through every figure to the remote angles . The unity of the whole ...
Page 40
In that aspect her left side is strikingly bold in its contrasts of nude form and large ,
simple masses of drapery . She has sprung to her feet , seizing her mantle with
both hands in astonishment ; that was a formula among Greek artists of the time .
In that aspect her left side is strikingly bold in its contrasts of nude form and large ,
simple masses of drapery . She has sprung to her feet , seizing her mantle with
both hands in astonishment ; that was a formula among Greek artists of the time .
What people are saying - Write a review
We haven't found any reviews in the usual places.
Other editions - View all
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 |