The Sculptures of the Parthenon |
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Page 11
... very centre , an invisible goddess interfering to stay the combat . What we see
is by no means a realistic battle . Such incidents only are chosen as are best
suited to the space ; nor is that the sole justification of the sculptor in this instance
.
... very centre , an invisible goddess interfering to stay the combat . What we see
is by no means a realistic battle . Such incidents only are chosen as are best
suited to the space ; nor is that the sole justification of the sculptor in this instance
.
Page 25
We lay stress on the parallel instance of Olympia ( 1 ) because of the artistic
resemblance between the river - gods there and the Ilissos ; ( 2 ) because of the
express statement of Pausanias , which no one would doubt in this case unless
he ...
We lay stress on the parallel instance of Olympia ( 1 ) because of the artistic
resemblance between the river - gods there and the Ilissos ; ( 2 ) because of the
express statement of Pausanias , which no one would doubt in this case unless
he ...
Page 32
In mankind everywhere there is an inner vision which no true artist can ignore .
When the sculptor sought to meet the demands of this inner eye by a
conventional method , as in these instances and on the Parthenon , we may rest
assured that ...
In mankind everywhere there is an inner vision which no true artist can ignore .
When the sculptor sought to meet the demands of this inner eye by a
conventional method , as in these instances and on the Parthenon , we may rest
assured that ...
Page 36
For instance , taking the middle line of the body to start from , we observe that the
farther half is not only narrower than the nearer half , but is rendered in a quite
general manner — not much more carefully 36 THE EAST PEDIMENT.
For instance , taking the middle line of the body to start from , we observe that the
farther half is not only narrower than the nearer half , but is rendered in a quite
general manner — not much more carefully 36 THE EAST PEDIMENT.
Page 42
In both we have a scene of awakening , appropriately caused in the first instance
by the dawn , but intensified in the second instance by the coincident birth of
Athenė . The third figure , M , lying with the feet still crossed one over the other , is
...
In both we have a scene of awakening , appropriately caused in the first instance
by the dawn , but intensified in the second instance by the coincident birth of
Athenė . The third figure , M , lying with the feet still crossed one over the other , is
...
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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 |