A History of Discoveries at Halicarnassus, Cnidus and Branchidę, Volume 2, Part 1

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Day & Son, 1862 - Turkey
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Page 220 - The body of the horse is a masterpiece of modelling ; the rearing movement affects the whole frame, and the solid and unwieldy mass of marble seems to bend and spring before our eyes, as if all the latent energy of the animal were suddenly called forth and concentrated in one forward movement. Equal skill is shown in the representation of the rider. Nothing can be more perfect than his seat. The right leg and thigh...
Page 78 - ... of white marble, very beautiful, and of marvellous lustre. This sepulchre, for want of time, they did not open, the retreat having already sounded. The day after, when they returned, they found the tomb opened and the earth all round strewn with fragments of cloth of gold, and spangles of the same metal, which made them suppose that the pirates who hovered along this coast, having some inkling of what had been discovered, had visited the place during the night and removed the lid of the sepulchre.
Page 76 - In the year 1522, when Sultan Solyman was preparing to attack Rhodes, the Grand Master, knowing the importance of the castle of St. Peter, and being aware that the Turks would seize it easily at the first assault, sent some knights thither to repair the fortress and make all due preparations to resist the enemy. Among the number of those sent was the Commander de la Tourette, a...
Page 78 - ... sculptures, in harmony with the rest of the work, and inserted in the white ground of the wall, where battle-scenes were represented sculptured in relief. Having at first admired these works, and entertained their fancy with the singularity of the sculpture, they pulled it to pieces, and broke up the whole of it, applying it to the same purpose as the rest. Besides this apartment, they found afterwards a very low door...
Page 239 - The apparent inequality in the lengths of the thighs is due to an optical deception. In 1015 is a mounted Amazon, whose horse is galloping to the right. The rider has turned round so as to face the horse's tail, and is drawing her bow, after the Parthian fashion, at an enemy behind her. 1016. The position of the horse and rider greatly resembles that of the equestrian group in the round (no. 1045). 1017. This fragment had somehow found its way to the Imperial Museum at Constantinople, and was presented...
Page 238 - From the examination of a number of fragments on their first disinterment, it was ascertained that the ground of the relief was a blue equal in intensity to ultramarine, the flesh a dun red, and the drapery and armour picked out with colours. The bridles of the horses, as on the frieze of the Parthenon, and some of the weapons, were of metal, as may be seen by an examination of the horses' heads, several of which are pierced for the attachment of metal.
Page 78 - ... whole of it, applying it to the same -purpose as the rest. Besides this apartment, they found afterwards a very low door which led into another apartment serving as an antechamber, where was a sepulchre with its vase and helmet of white marble, very beautiful, and of marvellous lustre. This sepulchre...
Page 234 - Museum possesses seventeen slabs, twelve of which were removed from the castle of St. Peter in 1846, and four more were discovered in 1856-59 on the site of the Mausoleum. One other slab of this frieze, No. 1022, was formerly in the Villa di Negro at Genoa, to which place it was probably transported from Budrum by one of the Knights of St. John, some time in the fifteenth or early in the sixteenth century, and was purchased from the Marchese Serra in 1865. The entire length of these slabs is 85 feet...
Page 77 - After four or five days, having laid bare a great space one afternoon, they saw an opening as into a cellar. Taking a candle, they let themselves down through this opening, and found that it led into a fine large square apartment, ornamented all round with columns of marble, with their bases, capitals, architrave, frieze, and cornice engraved and sculptured in relief.
Page 238 - Amazons, forms occur which seem rather too voluptuous for such a heroic type, and we may here detect the first germs of that sensual element, which gained so powerful an ascendancy in the later schools of art, but of which we have no trace in the works of Phidias.

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