The Sculptures of the ParthenonJ. Murray, 1903 - 173 pages |
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Page 21
Alexander Stuart Murray. neck . Her mantle , twisted among her feet , suggests that in her haste it had fallen and helped to throw her forward . The cause of her alarm is obvious . It was the violent contention of the two deities . Her ...
Alexander Stuart Murray. neck . Her mantle , twisted among her feet , suggests that in her haste it had fallen and helped to throw her forward . The cause of her alarm is obvious . It was the violent contention of the two deities . Her ...
Page 27
... suggests haste . Probably the left knee had been raised , the foot on the ground . His bodily forms are very simple , but very grand . That he represents the river Cephisos we are content to believe . The other figure , W , is a woman ...
... suggests haste . Probably the left knee had been raised , the foot on the ground . His bodily forms are very simple , but very grand . That he represents the river Cephisos we are content to believe . The other figure , W , is a woman ...
Page 40
... suggest a doubt as to the sisterly relation of all three . But there was the space of the pediment to be considered , and besides , we must remember that it was the left side of this figure which came most into view when the spectator ...
... suggest a doubt as to the sisterly relation of all three . But there was the space of the pediment to be considered , and besides , we must remember that it was the left side of this figure which came most into view when the spectator ...
Page 44
... suggest that the so - called Fates are the three peculiarly Attic personifications of morning dew , Aglauros , Hersè , and Pandrosos , as many have believed them to be since Welcker's identification of them in 1845. They would thus be a ...
... suggest that the so - called Fates are the three peculiarly Attic personifications of morning dew , Aglauros , Hersè , and Pandrosos , as many have believed them to be since Welcker's identification of them in 1845. They would thus be a ...
Page 55
... suggests alarm occasioned by the turbulence of the Centaurs at the extremes of the scene . The combats of Centaurs and Lapiths could not have been separated as they are into so many metopes on the left and so many on the right , yet all ...
... suggests alarm occasioned by the turbulence of the Centaurs at the extremes of the scene . The combats of Centaurs and Lapiths could not have been separated as they are into so many metopes on the left and so many on the right , yet all ...
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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...