The Sculptures of the ParthenonJ. Murray, 1903 - 173 pages |
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Page 118
... look of flatness from the necks . He has drawn the eyes and nostrils with dark incision , careful as the finest touches of a painter's pencil ; and then at last when he comes to the manes , he has let fly hand and chisel with their full ...
... look of flatness from the necks . He has drawn the eyes and nostrils with dark incision , careful as the finest touches of a painter's pencil ; and then at last when he comes to the manes , he has let fly hand and chisel with their full ...
Page 124
... look like prematurely aged youths . The eyes are mostly in side face , which probably is due to a lingering on of archaic tradition . The ear is very carefully and finely rendered ; the hair avoids equally the conventionalism of archaic ...
... look like prematurely aged youths . The eyes are mostly in side face , which probably is due to a lingering on of archaic tradition . The ear is very carefully and finely rendered ; the hair avoids equally the conventionalism of archaic ...
Page 129
... look inside them you will find bars , bolts , nails , logs of wood , wedges , pitch , clay , and all sorts of shapeless things . It is said that the amount of gold employed on the Athenè by Pheidias was equal in value to £ 10,000 or ...
... look inside them you will find bars , bolts , nails , logs of wood , wedges , pitch , clay , and all sorts of shapeless things . It is said that the amount of gold employed on the Athenè by Pheidias was equal in value to £ 10,000 or ...
Page 139
... look as like a portrait as possible . That seems to be what has happened on our marble shield . The proportions of the Pheidias have been enlarged so as to make him conspicuous , and possibly also to give an opportunity of indicating ...
... look as like a portrait as possible . That seems to be what has happened on our marble shield . The proportions of the Pheidias have been enlarged so as to make him conspicuous , and possibly also to give an opportunity of indicating ...
Page 153
... look back . But this time he is almost wholly nude , even more so than 88. His mantle shows only on his right arm a little and at the left side ; his left hand catches the end of the mantle on the flank of the horse , but the fine ...
... look back . But this time he is almost wholly nude , even more so than 88. His mantle shows only on his right arm a little and at the left side ; his left hand catches the end of the mantle on the flank of the horse , but the fine ...
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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...