The Sculptures of the ParthenonJ. Murray, 1903 - 173 pages |
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Page 70
... passing over him triumphantly . At the worst the Centaur is in the grip of the Lapith , who is about to deal a heavy blow , but in no case is the blow already dealt . There is no indication of any weapon in the hands of the Lapiths ...
... passing over him triumphantly . At the worst the Centaur is in the grip of the Lapith , who is about to deal a heavy blow , but in no case is the blow already dealt . There is no indication of any weapon in the hands of the Lapiths ...
Page 72
... groups of that nature at the very outer extreme of his composition . What that reason was it is hard to guess . But let us note each group in passing . In 30 there is drapery behind the Lapith , one end 72 THE SOUTH METOPES.
... groups of that nature at the very outer extreme of his composition . What that reason was it is hard to guess . But let us note each group in passing . In 30 there is drapery behind the Lapith , one end 72 THE SOUTH METOPES.
Page 73
... pass behind the Lapith and make no display . Doubtless the struggle can only end in the death of one or other , but there is no intensity in the action . Possibly , therefore , the artist's intention in these last three metopes was to ...
... pass behind the Lapith and make no display . Doubtless the struggle can only end in the death of one or other , but there is no intensity in the action . Possibly , therefore , the artist's intention in these last three metopes was to ...
Page 80
... passing notice . Still less are we entitled to enter on the vexed question of identifying the several deities in their combats with the giants . There is not sufficient material to judge by . It will be enough to give the names that ...
... passing notice . Still less are we entitled to enter on the vexed question of identifying the several deities in their combats with the giants . There is not sufficient material to judge by . It will be enough to give the names that ...
Page 83
... pass from the isolated groups of the metopes to the uninterrupted procession of the frieze . A poetic narrative which carries us along by its charms of style and by the skilful distribution of its parts , is what the frieze may be ...
... pass from the isolated groups of the metopes to the uninterrupted procession of the frieze . A poetic narrative which carries us along by its charms of style and by the skilful distribution of its parts , is what the frieze may be ...
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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...