The Sculptures of the ParthenonJ. Murray, 1903 - 173 pages |
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Page 33
Alexander Stuart Murray. to the natural phenomena the sculptor could have imagined himself facing in the opposite direction . The sun would then have been on his right hand and the moon on his left , as on a beautiful vase in the British ...
Alexander Stuart Murray. to the natural phenomena the sculptor could have imagined himself facing in the opposite direction . The sun would then have been on his right hand and the moon on his left , as on a beautiful vase in the British ...
Page 41
... natural occupation , not surprised and startled as are the three women in the remote angle of the pediment . They would thus have been the " Foolish Fates , " as they are called in Mid- summer Night's Dream . Further , the Fates had no ...
... natural occupation , not surprised and startled as are the three women in the remote angle of the pediment . They would thus have been the " Foolish Fates , " as they are called in Mid- summer Night's Dream . Further , the Fates had no ...
Page 57
... natural description of this metope . In the sculptures of the west pediment of Olympia the bride was the first person seized on by the Centaurs , and was necessarily placed in the centre of the composition . But in a long series of ...
... natural description of this metope . In the sculptures of the west pediment of Olympia the bride was the first person seized on by the Centaurs , and was necessarily placed in the centre of the composition . But in a long series of ...
Page 63
... naturally for the metopes , but as these labours could not be multiplied so as to extend round the whole building , the side metopes were left blank . The archaic metopes which have survived from the Doric temples of Selinus in Sicily ...
... naturally for the metopes , but as these labours could not be multiplied so as to extend round the whole building , the side metopes were left blank . The archaic metopes which have survived from the Doric temples of Selinus in Sicily ...
Page 66
... an upturned vase before the attack of the Centaur . It is not a very natural position , but it gave the sculptor an opportunity of creating a new and somewhat picturesque motive . No. 10 is the metope 66 THE SOUTH METOPES.
... an upturned vase before the attack of the Centaur . It is not a very natural position , but it gave the sculptor an opportunity of creating a new and somewhat picturesque motive . No. 10 is the metope 66 THE SOUTH METOPES.
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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...