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Acropolis Museum Aegina Aeginetan Ageladas Alcamenes already ancient Apollo archaic architectural Argive Artemis artistic Asia Minor Athenian Athens athletic Attic attributed belong Boeotia British Museum bronze character characteristic colour composition contrast conventional copies Critius and Nesiotes decorative dedicated Delos Dipoenus and Scyllis drapery earlier early Endoeus evidence example extant female fifth century figures fourth century frieze goddess gold and ivory Greece Greek art Greek sculpture hair hand head Hellenistic Heracles Hermes history of sculpture Homer imitation influence inscriptions Ionic later literary Lysippus marble material metopes modelling monuments Mycenae Myron National Museum nature nude Olympia original Parthenon Pausanias pediment period Persian Phidias Phoenician Pliny Polyclitus Praxiteles preserved primitive probably pupil recognise relief rendering represented resemblance Rome scenes Scopas seems seen side similar skill statue statuettes style surface temple tion trace tradition treatment vases victory Zeus
Page 456 - I see before me the Gladiator lie : He leans upon his hand, — his manly brow Consents to death, but conquers agony, And his drooped head sinks gradually low, — And through his side the last drops, ebbing slow From the red gash, fall heavy, one by one, Like the first of a thunder-shower; and now The arena swims around him : he is gone, Ere ceased the inhuman shout which hailed the wretch who won.
Page 252 - ... Minerva by Phidias, noticed by Pausanias (Attica, chapter xxviii.), having been one of the dedications from the tenth of military spoils in honour of the victory gained over the Medes at Marathon. " On the shield were sculptures of Lapithae fighting with the Centaurs. This statue's head was so placed, that the crest of the helmet and the point of the spear were seen in sailing from Sunium towards Athens.
Page 413 - For occasion, as it is in the common verse, turneth a bald noddle, after she hath presented her locks in front, and no hold taken...
Page 392 - The rocks are cloven, and through the purple night I see cars drawn by rainbow-winged steeds Which trample the dim winds : in each there stands A wild-eyed charioteer urging their flight. Some look behind, as fiends pursued them there, And yet I see no shapes but the keen stars : Others, with burning eyes, lean forth, and drink With eager lips the wind of their own speed, As if the thing they loved fled on before, And now, even now, they clasped it. Their bright locks Stream like a comet's flashing...
Page 405 - He may best be understood if we regard him as a man who lived in the fourth century, but apart from the general stream of its artistic tendencies, feeling deeply the influence of the high ideals of the age of Phidias, but of sufficient originality to introduce into his art some innovations as yet unknown to his contemporaries, though they anticipate the custom of the Hellenistic age" (EA Gardner, Handbook of Greek Sculpture, p.
Page 183 - Persia by Alexander the Great or one of his successors, and the two sets stood side by side in the Agora from then on.
Page 515 - It shows us the man as he lived, his features and expression rendered with the most unsparing realism, no detail softened, if it could add to the individuality of the portrait, and it shows in its lean and expressive features the wear and waste due to a restless and fiery genius. If we contrast this face with that of Pericles and with that of Alexander, we sec the difference not only between the men, but also between the art that portrayed them.
Page 238 - Lucian as reproducing with marvellous fidelity the disk thrower of the ancient games: "bent down into the position for the throw, turning towards the hand that holds the disk, and all but bending on one knee, he seems as if he would straighten himself up at the throw.
Page 33 - ... pointing devices" were used in the classic period, — a subject upon which the statue under discussion serves to throw a ray of light.1 On the rear of the left arm, where the 1 Cf. Gardner, Handbook of Greek Sculpture (edit. 1915), pp. 32-35, . . '' In fact we can see such puntelli upon several unfinished works of sculpture. But these mostly belong to Hellenistic or Roman times; and even on works of this later period they are not always to be seen, while on earlier monuments they seem to be...
Page 442 - ... over the scene. (Similar subjects treated in a similar style are also found in other works of minor arts, such as bronze or silver vessels and even gems); and they are interesting (not only from the way in which they illustrate the literary tendencies of the Hellenistic age and the social conditions they reflect, but also) because they show us an undoubted example of influence of painting on sculpture.