The Sculptures of the ParthenonJ. Murray, 1903 - 173 pages |
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Page 40
... drapery . She has sprung to her feet , seizing her mantle with both hands in astonishment ; that was a formula among Greek artists of the time . As regards the two seated figures , the extent of their surprise is greater than is usually ...
... drapery . She has sprung to her feet , seizing her mantle with both hands in astonishment ; that was a formula among Greek artists of the time . As regards the two seated figures , the extent of their surprise is greater than is usually ...
Page 45
... drapery . The motive we have already described - one woman putting her heels back and trying to raise hurriedly another who has been sleeping against her . It is one of those universal actions which need no explanation even to the ...
... drapery . The motive we have already described - one woman putting her heels back and trying to raise hurriedly another who has been sleeping against her . It is one of those universal actions which need no explanation even to the ...
Page 46
... drapery such as the sun casts , but with a predominance of edges of folds as if seen emerging in obscurity . Doubtless the mere attitude of the figure necessarily leads to an effect of this kind . Her body is tilted over to the front in ...
... drapery such as the sun casts , but with a predominance of edges of folds as if seen emerging in obscurity . Doubtless the mere attitude of the figure necessarily leads to an effect of this kind . Her body is tilted over to the front in ...
Page 47
... drapery which falls over her left thigh is of extraordinary complexity and beauty , where the folds were intended to be seen . But the moment we look a little further towards the back of the figure we come upon folds which are merely ...
... drapery which falls over her left thigh is of extraordinary complexity and beauty , where the folds were intended to be seen . But the moment we look a little further towards the back of the figure we come upon folds which are merely ...
Page 47
... drapery which falls over her left thigh is of extraordinary complexity and beauty , where the folds were intended to be seen . But the moment we look a little further towards the back of the figure we come upon folds which are merely ...
... drapery which falls over her left thigh is of extraordinary complexity and beauty , where the folds were intended to be seen . But the moment we look a little further towards the back of the figure we come upon folds which are merely ...
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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...