Fifteenth Catalogue of the Collection of Ancient and Modern Works of Art Given Or Lent to the Trustees: Part 1. Sculpture and Antiquities |
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Fifteenth Catalogue of the Collection of Ancient and Modern Works of Art ... Boston Museum Of Fine Arts No preview available - 2015 |
Fifteenth Catalogue Of The Collection Of Ancient And Modern Works Of Art ... Museum of Fine Arts, Boston No preview available - 2023 |
Fifteenth Catalogue Of The Collection Of Ancient And Modern Works Of Art ... Museum of Fine Arts, Boston No preview available - 2023 |
Common terms and phrases
Alcamenes Amazon AMPHORA ancient animals antique Apollo archaic artist ARYBALLOS Assyrian Athenæum Athens Bacchic Bacchus bas-relief beauty belong body British Museum bronze BUST called casts chariot Chiusi copy Cyprus decorated Diadumenos Diana Dionysos Donatello drapery Egyptian emblem ENOCHOE epoch Etruscan Faun feet figures Florence Found at Capua fourth century B. C. fragments frieze Gallery Gauls goddess grace Greek Greek Room GREEK VASE head Hercules Hermes holding horse Idalium ideal inscription Juno Jupiter KANTHAROS left hand lions Louvre Lysippus Mænad marble mausoleum Medusa metopes Michelangelo mummy Naples Olympia original ornaments painted Parthenon Pausanias pediment Pelops period Perkins Perseus Phidias placed portrait Praxiteles probably reign relief repre represented restored right hand Roman Rome Satyr Scopas sculptured seated side sixth century B. C. stands statue statuette stone style Sumner bequest supposed Temple terra cotta tombs Torso tripod Uffizi Vatican Venus Victory Villa Albani
Popular passages
Page 60 - Attic shape! Fair attitude! with brede Of marble men and maidens overwrought, With forest branches and the trodden weed; Thou, silent form, dost tease us out of thought As doth eternity: Cold Pastoral! When old age shall this generation waste, Thou shalt remain, in midst of other woe Than ours, a friend to man, to whom thou sayst, 'Beauty is truth, truth beauty,' — that is all Ye know on earth, and all ye need to know.
Page 37 - The Faun is the marble image of a young man, leaning his right arm on the trunk or stump of a tree; one hand hangs carelessly by his side; in the other, he holds the fragment of a pipe, or some such sylvan instrument of music. His only garment— a lion's skin, with the claw upon his shoulder— falls half-way down his back, leaving the limbs and entire front of the figure nude.
Page 38 - The pointed and furry ears, therefore, are the sole indications of his wild, forest nature. Only a sculptor of the finest imagination, the most delicate taste, the sweetest feeling, and the rarest artistic skill — in a word, a sculptor and a poet too— could have first dreamed of a Faun in this guise, and then have succeeded in imprisoning the sportive and frisky thing in marble. Neither man nor animal, and yet no monster, but a being in whom both races meet on friendly ground.
Page 38 - The mouth, with its full yet delicate lips, seems so nearly to smile outright, that it calls forth a responsive smile. The whole statue — unlike anything else that ever was wrought in that severe material of marble — conveys the idea of an amiable and sensual creature, easy, mirthful, apt for jollity, yet not incapable of being touched by pathos.
Page 75 - With pious haste, but vain, they next invade; Twice round his waist their winding volumes roll'd; And twice about his gasping throat they fold. The priest thus doubly chok'd, their crests divide, And tow'ring o'er his head in triumph ride. With both his hands he labors at the knots; His holy fillets the blue venom blots; His roaring fills the flitting air around.
Page 75 - Then with their sharpen'd fangs their limbs and bodies grind. The wretched father, running to their aid With pious haste, but vain, they next invade; Twice round his waist their winding volumes roll'd; And twice about his gasping throat they fold.
Page 38 - His only garment — a lion's skin, with the claws upon his shoulder — falls half-way down his back, leaving the limbs and entire front of the figure nude. The form, thus displayed, is marvellously graceful, but has a fuller and more rounded outline, more flesh, and less of heroic muscle than the old sculptors were wont to assign to their types of masculine beauty. The character of the face corresponds with the figure ; it is most agreeable in outline and feature, but rounded and somewhat voluptuously...
Page 37 - His only garment — a lion's skin, 1 with the claws upon his shoulder — falls halfway down his back, leaving the limbs and entire front of the figure nude. The form, thus displayed, is marvellously graceful, but has a fuller and more rounded outline, more flesh, and less of heroic muscle, than the old sculptors were wont to assign to their types of masculine beauty.
Page 60 - What leaf-fringed legend haunts about thy shape Of deities or mortals, or of both, In Tempe or the dales of Arcady ? What men or gods are these? What maidens loath ' What mad pursuit? What struggle to escape? What pipes and timbrels? What wild ecstasy?
Page 38 - The riddle is indicated, however, only by two definite signs ; these are the two ears of the Faun, which are leafshaped terminating in little peaks, like those of some species of animals. Though not so seen in the marble, they are probably to be considered as clothed in fine, downy fur. In the coarser representations of this class of mythological creatures, there is another token of brute kindred — a certain caudal appendage ; which, if the Faun of Praxiteles must be supposed to possess it at all,...