The Sculptures of the ParthenonJ. Murray, 1903 - 173 pages |
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Page 22
... right wing represent the family of Erechtheus , as Professor Furtwaengler has proposed , we would be content so far ... hand clasping her knee , and his mantle stretched between him and her . On her left was another boy , R , of whom we ...
... right wing represent the family of Erechtheus , as Professor Furtwaengler has proposed , we would be content so far ... hand clasping her knee , and his mantle stretched between him and her . On her left was another boy , R , of whom we ...
Page 26
... right angle , as the analogy of the two river - gods at Olympia might lead ... hand , as in late Greek and Roman art ; we may fairly be content if his nude ... hand in a thin sheet of THE RIVER GODS 27 flat folds , which , though 26 THE ...
... right angle , as the analogy of the two river - gods at Olympia might lead ... hand , as in late Greek and Roman art ; we may fairly be content if his nude ... hand in a thin sheet of THE RIVER GODS 27 flat folds , which , though 26 THE ...
Page 26
... right angle , as the analogy of the two river - gods at Olympia might lead ... hand , as in late Greek and Roman art ; we may fairly be content if his nude ... hand in a thin sheet of flat folds , which , though only sketched in , 26 THE ...
... right angle , as the analogy of the two river - gods at Olympia might lead ... hand , as in late Greek and Roman art ; we may fairly be content if his nude ... hand in a thin sheet of flat folds , which , though only sketched in , 26 THE ...
Page 27
... 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 right knee ; his right hand has caught hold of an end of his mantle , dragging it ...
... 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 right knee ; his right hand has caught hold of an end of his mantle , dragging it ...
Page 33
... 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 and his Selenè in the left ...
... 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 and his Selenè in the left ...
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Common terms and phrases
Acropolis Acropolis of Athens action Alcamenes angle Aphroditè apobates appear artistic Athenè Athenians attitude beauty birth of Athenè body British Museum Carrey's drawing carry cast Cecrops Centaur Centaurs and Lapiths central group central metopes centre chariot chariot group chiton colossal composition cows deities drapery east frieze effect Elgin Room Ergastinae figure folds fore leg front girls goddess gods gold and ivory Greek head helmet Hephaestos Hera horses Ilissos Illustrations instances knee Lapith left arm left hand long sides Lord Elgin mantle marble Michaelis nearer north frieze north side nude form Olympia Olympos original in Athens Parthenon frieze Pausanias peplos Pheidias PLATE Poseidon possible procession raised recognise represent right arm right hand scene sculptured seated seen shield shoulders Slab south metopes south side spectator statuette temple Theseus turning round vase west frieze west pediment whole wings woman women xoanon youth Zeus Zeus at Olympia
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...