The Sculptures of the ParthenonJ. Murray, 1903 - 173 pages |
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Page 38
... hand and the Seasons on the other , three of each . " Then he quotes from Homer to the effect that the Horae or Seasons were like " guardians of a king's hall . " This same writer ( ix . 35 , 1 ) , speaking of the Horae in Attica , says ...
... hand and the Seasons on the other , three of each . " Then he quotes from Homer to the effect that the Horae or Seasons were like " guardians of a king's hall . " This same writer ( ix . 35 , 1 ) , speaking of the Horae in Attica , says ...
Page 40
... 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 supposed . The one , E , throws out her right knee with a great ...
... 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 supposed . The one , E , throws out her right knee with a great ...
Page 41
... hands . It is true they are there standing in a group as the exigencies of a band of relief required . But they are ... hand , we learn from a fragment of Euripides ( Nauck , 623 ) that the Fates were divine beings who " sat nearest to ...
... hands . It is true they are there standing in a group as the exigencies of a band of relief required . But they are ... hand , we learn from a fragment of Euripides ( Nauck , 623 ) that the Fates were divine beings who " sat nearest to ...
Page 46
... hand of that favourite pupil of Pheidias . But whatever her charms , we must not forget that she is only a secondary figure in a great composition . If we are right in describing the Theseus or Cephalos of the opposite angle as sunlit ...
... hand of that favourite pupil of Pheidias . But whatever her charms , we must not forget that she is only a secondary figure in a great composition . If we are right in describing the Theseus or Cephalos of the opposite angle as sunlit ...
Page 49
... hand . We can imagine her left hand holding high one end of a bronze- gilt ribbon , the other end fastened by the slight iron plug which still remains on her left thigh . Her right arm would then be stretched forward to welcome Athenè's ...
... hand . We can imagine her left hand holding high one end of a bronze- gilt ribbon , the other end fastened by the slight iron plug which still remains on her left thigh . Her right arm would then be stretched forward to welcome Athenè's ...
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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...