The Sculptures of the Parthenon |
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Page 127
In the meantime there are some practical questions which we may consider . For
instance , we are told that on another colossal statue of gold and ivory by
Pheidias — the Zeus at Olympia - his golden robe was inlaid with patterns of
flowers .
In the meantime there are some practical questions which we may consider . For
instance , we are told that on another colossal statue of gold and ivory by
Pheidias — the Zeus at Olympia - his golden robe was inlaid with patterns of
flowers .
Page 128
Another technical question is the manner in which these colossal
chryselephantine statues were made . Speaking of a statue of Zeus at Megara by
a pupil of Pheidias , named Theocosmos , Pausanias says : “ The face was of
gold and ivory ...
Another technical question is the manner in which these colossal
chryselephantine statues were made . Speaking of a statue of Zeus at Megara by
a pupil of Pheidias , named Theocosmos , Pausanias says : “ The face was of
gold and ivory ...
Page 129
We read also in Lucian ( Somn . sive Gall . , 24 ) that however beautiful one of the
colossal statues by Pheidias and others might appear in external aspect , all gold
and ivory , yet if you look inside them you will find bars , bolts , nails , logs of ...
We read also in Lucian ( Somn . sive Gall . , 24 ) that however beautiful one of the
colossal statues by Pheidias and others might appear in external aspect , all gold
and ivory , yet if you look inside them you will find bars , bolts , nails , logs of ...
Page 130
... the marble copies made long after the spoliation of Lachares show no signs of
that spoliation ; and , similarly , the writer Pausanias , who records the robbery of
Lachares , has shortly before described the statue as of gold and ivory , with no ...
... the marble copies made long after the spoliation of Lachares show no signs of
that spoliation ; and , similarly , the writer Pausanias , who records the robbery of
Lachares , has shortly before described the statue as of gold and ivory , with no ...
Page 131
There the ivory needs water , and dew from the water . In Epidauros , when I
asked why they used neither olive oil nor water for the statue of Asclepios , the
authorities of the temple told me that the statue of the god , and the throne on
which he ...
There the ivory needs water , and dew from the water . In Epidauros , when I
asked why they used neither olive oil nor water for the statue of Asclepios , the
authorities of the temple told me that the statue of the god , and the throne on
which he ...
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Acropolis action already angle appear artistic Athenè 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 goddess gods gold Greek hand head holding horses Illustrations indicate instances interested ivory Lapith left hand legs less light 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 |