The Sculptures of the Parthenon |
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Page 16
On the left is Athenè in recoil from her final act , and at the same time turning
towards her chariot to leave the scene . On the right Poseidon seizes by the
bridle a horse , below which are the brackish pool of water and the dolphins .
Doubtless ...
On the left is Athenè in recoil from her final act , and at the same time turning
towards her chariot to leave the scene . On the right Poseidon seizes by the
bridle a horse , below which are the brackish pool of water and the dolphins .
Doubtless ...
Page 21
... her excitement , especially the sister nearest the centre , who in Carrey ' s
drawing corresponds singularly with the so - called Iris , G , of the east pediment ,
both in the slightness of her figure and in her action of turning away from the
centre .
... her excitement , especially the sister nearest the centre , who in Carrey ' s
drawing corresponds singularly with the so - called Iris , G , of the east pediment ,
both in the slightness of her figure and in her action of turning away from the
centre .
Page 28
Enough remains to show that she had been in the act of turning towards the
centre of the pediment in alarm . Her drapery at the back is finely if simply
rendered . We are willing to accept her as the local fountain , Callirrhoè . Thus the
great ...
Enough remains to show that she had been in the act of turning towards the
centre of the pediment in alarm . Her drapery at the back is finely if simply
rendered . We are willing to accept her as the local fountain , Callirrhoè . Thus the
great ...
Page 35
The cramped action of his knees is very peculiar . It seems to indicate awakening
from slumber at sunrise . The slight bending forward of the head and body , the
partial turning round towards the front , are equally consistent with that action .
The cramped action of his knees is very peculiar . It seems to indicate awakening
from slumber at sunrise . The slight bending forward of the head and body , the
partial turning round towards the front , are equally consistent with that action .
Page 56
In the first of these central metopes , 13 , are a young woman and a young man ,
turning away from each other , the woman having one arm raised . These two
figures are not characterised as other than ordinary persons , but their attitude ...
In the first of these central metopes , 13 , are a young woman and a young man ,
turning away from each other , the woman having one arm raised . These two
figures are not characterised as other than ordinary persons , but their attitude ...
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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 |