The Sculptures of the Parthenon |
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Page 21
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 sisters and the boy Erichthonios share her ...
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 sisters and the boy Erichthonios share her ...
Page 27
For the moment he still rests on his right knee , but the right foot is entangled in a
mantle , in a manner which suggests haste . Probably the left knee had been
raised , the foot on the ground . His bodily forms are very simple , but very grand .
For the moment he still rests on his right knee , but the right foot is entangled in a
mantle , in a manner which suggests haste . Probably the left knee had been
raised , the foot on the ground . His bodily forms are very simple , but very grand .
Page 40
It is true that the girlishness of her form , when looked at full in front and
compared with the two seated women , may suggest a doubt as to the sisterly
relation of all three . But there was the space of the pediment to be considered ,
and besides ...
It is true that the girlishness of her form , when looked at full in front and
compared with the two seated women , may suggest a doubt as to the sisterly
relation of all three . But there was the space of the pediment to be considered ,
and besides ...
Page 44
In a word , we 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 ...
In a word , we 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 ...
Page 55
The prevalence of womanly figures accords with this view , and the concentration
of them 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 ...
The prevalence of womanly figures accords with this view , and the concentration
of them 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 ...
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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 |