The Sculptures of the ParthenonJ. Murray, 1903 - 173 pages |
From inside the book
Results 6-10 of 24
Page 65
... close to the Centaur in such a manner that the two together convey the impression of a low relief , detachable from the background and brought forward in a mass , as if the intention of the sculptor had been to get rid of those strong ...
... close to the Centaur in such a manner that the two together convey the impression of a low relief , detachable from the background and brought forward in a mass , as if the intention of the sculptor had been to get rid of those strong ...
Page 68
... close quarters indeed . Here again drapery is used to conceal the close impact of the two bodies and to introduce contrasts between the entwined legs of the two combatants . Lastly there is 29 , in which the Centaur has carried off the ...
... close quarters indeed . Here again drapery is used to conceal the close impact of the two bodies and to introduce contrasts between the entwined legs of the two combatants . Lastly there is 29 , in which the Centaur has carried off the ...
Page 69
... close to the background , and in no perceptible degree lessen the amount of shadow there , but only break it up by their sharp undulating edges . The ends of this great mantle hang over each arm of the Lapith . At the next moment the ...
... close to the background , and in no perceptible degree lessen the amount of shadow there , but only break it up by their sharp undulating edges . The ends of this great mantle hang over each arm of the Lapith . At the next moment the ...
Page 86
... close to the head of the procession ( 49-56 ) . At the same time he sent to Paris a cast of the slab immediately preceding this one . Very fortunately so , because that slab was subsequently much destroyed . One figure of an old man ...
... close to the head of the procession ( 49-56 ) . At the same time he sent to Paris a cast of the slab immediately preceding this one . Very fortunately so , because that slab was subsequently much destroyed . One figure of an old man ...
Page 90
... close beside the goddess Hera , and is obviously a divine messenger , such as Iris or Nike . The other , 42 , on the extreme right , is a winged boy , even more obviously the god of love , Eros , leaning idly against the knees of his ...
... close beside the goddess Hera , and is obviously a divine messenger , such as Iris or Nike . The other , 42 , on the extreme right , is a winged boy , even more obviously the god of love , Eros , leaning idly against the knees of his ...
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...