The Sculptures of the ParthenonJ. Murray, 1903 - 173 pages |
From inside the book
Page 16
... equally a personification to begin with , had passed over into the legendary history of Athens . To take the figures one by one , we begin as of right with the central group . And first it will be of interest to notice a Greek vase in ...
... equally a personification to begin with , had passed over into the legendary history of Athens . To take the figures one by one , we begin as of right with the central group . And first it will be of interest to notice a Greek vase in ...
Page 16
... equally a personification to begin with , had passed over into the legendary history of Athens . To take the figures one by one , we begin as of right with the central group . And first it will be of interest to notice a Greek vase in ...
... equally a personification to begin with , had passed over into the legendary history of Athens . To take the figures one by one , we begin as of right with the central group . And first it will be of interest to notice a Greek vase in ...
Page 17
... equally applicable to the centre of the pedi- ment . Whether there were there also the serpent and the Nikè must be left in suspense . The chariot of Athenè we know from Carrey's drawings , but by his time the horses of Poseidon had ...
... equally applicable to the centre of the pedi- ment . Whether there were there also the serpent and the Nikè must be left in suspense . The chariot of Athenè we know from Carrey's drawings , but by his time the horses of Poseidon had ...
Page 20
Alexander Stuart Murray. and pool which they had created . ' Their charioteers were equally invisible and present on the Acropolis . But the figures in the two wings , consisting of interested spectators in the form of local heroes or ...
Alexander Stuart Murray. and pool which they had created . ' Their charioteers were equally invisible and present on the Acropolis . But the figures in the two wings , consisting of interested spectators in the form of local heroes or ...
Page 21
... equally with no trace of any figure . In our judgment these two gaps are an essential part of the composition . So far as the left wing 1E 788 , a vase in the form of a sphinx surmounted by a cup , on which the design is painted ...
... equally with no trace of any figure . In our judgment these two gaps are an essential part of the composition . So far as the left wing 1E 788 , a vase in the form of a sphinx surmounted by a cup , on which the design is painted ...
Other editions - View all
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...