The Sculptures of the Parthenon |
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Page 22
The two remaining figures in the right angle , V - - W , would then be , from our
point of view , local personifications ... boy on her right side , P , has rushed
impetuously to her , his right hand clasping her knee , and his mantle stretched
between ...
The two remaining figures in the right angle , V - - W , would then be , from our
point of view , local personifications ... boy on her right side , P , has rushed
impetuously to her , his right hand clasping her knee , and his mantle stretched
between ...
Page 26
The Ilissos has no corresponding figure in the right angle , as the analogy of the
two river - gods at Olympia might lead us to ... a branch in one hand , as in late
Greek and Roman art ; we may fairly be content if his nude form is resplendent
with ...
The Ilissos has no corresponding figure in the right angle , as the analogy of the
two river - gods at Olympia might lead us to ... a branch in one hand , as in late
Greek and Roman art ; we may fairly be content if his nude form is resplendent
with ...
Page 27
He is excited by the contest of the two deities , and raises himself in his channel ,
pulling back his left foot and raising his right knee ; his right hand has caught hold
of an end of his mantle , dragging it forward , an action always significant of ...
He is excited by the contest of the two deities , and raises himself in his channel ,
pulling back his left foot and raising his right knee ; his right hand has caught hold
of an end of his mantle , dragging it forward , an action always significant of ...
Page 33
The sun would then have been on his right hand and the moon on his left , as on
a beautiful vase in the British Museum about contemporary with the Parthenon (
E 466 ) . He would then have placed his Helios in the right angle of the pediment
...
The sun would then have been on his right hand and the moon on his left , as on
a beautiful vase in the British Museum about contemporary with the Parthenon (
E 466 ) . He would then have placed his Helios in the right angle of the pediment
...
Page 35
... towards the front , are equally consistent with that action . We can imagine the
right hand raised towards the head in a familiar act of awakening . His left hand
may have held me two sloping spears , like the Cephalos on our vase THESEUS
35.
... towards the front , are equally consistent with that action . We can imagine the
right hand raised towards the head in a familiar act of awakening . His left hand
may have held me two sloping spears , like the Cephalos on our vase THESEUS
35.
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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 |