This post focuses on the incredible sculptures of the Parthenon at the British Museum.
Speaking for myself, and I have seen these marbles a few times already; I have always been blown away by how well the British Museum have presented them. They are carefully presented along the walls in an enormous room (the size of a football pitch) with nothing in the middle. The sculptures and friezes are along the walls. So, as you go along, your attention is focused on the story and narrative.
The temple was built in 490BC (after the Battle of Marathon) and captures the classical highpoint of Ancient Greek art. It was destroyed, and then rebuilt by Perikles. So the ‘present version’ is actually the 2nd version (450-430BC) over the earlier one. Following the rise of Christianity in the Roman Empire, the Parthenon becomes a church and the east pediment and metopes were destroyed. It then became a mosque for the Ottomans. The Venetians bombarding the Ottoman garrison on the Acropolis ignited gunpowder (which exploded) destroying the temple. Very soon after that Lord Elgin (as British Ambassador to the Ottomans) was concerned about the sculpture and frieze deterioration (esp. those lying on the floor), acquired legal sanction, and took them to the British Museum. So that’s a very brief history.
The Parthenon itself was devoted to the goddess Athena and was built after a key victory over the Persian Empire. At the time, the Persians controlled a vast expansive territory; and Athens and Sparta (as Greek city-states) lead their defeat. Apparently, the Parthenon used to house a huge gold & ivory statute of the goddess Athena. It seems it may have been lost in time.
Below are some beautiful sculptures - the beauty of which is ignited the renaissance.
Enjoy.
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South Frieze (sculpture by Phidias)
Two horsemen wearing a cloak over one shoulder. The drilled holes indicated some metallic reins.
I love the horses’ manes. It’s like fire on their back.
And the skill of Phidias with regards to the horses. If you look closely, you can almost see how her carved the muscles in the uneven texture (esp. around the shoulders). Amazing.
Short tunic is worn around the waist. Bare-headed soldiers. Magnificent horses.
So much movement and energy carved into the marble.
Here we see overlapping riders and visual depth.
To my mind, the recurring theme of Phidias, and the contemporary Greek sculptors, was treated the human body and horses as a theatrical pieces. Dressed in finery, body armour and short tunics, they are calm and reposeful. But around them the horses are terrifying in their strength and speed. Thrilling.
You can feel the dynamism of the moment through their muscles and bones; the weapons, and the fierceness of the horses’ hoofs demolishing everything in their way.
I love the way the horses seem to be moving arched forward & frozen in time; it heightens the drama and anticipation of the moment the hoof lands on the ground.
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The West MetopesThe human lapith (of Greek mythology) forces the centaur down; gripping him by the throat.
Once again, the beauty in the anatomy of the horse is striking; as well as the centaur’s gruesome face. This must have been the equivalent of 3D films of the Ancient world !
I also love the geometry of the compositions. It gives it all a certain elegance, I think.
The centaur is surprised from behind and turns his human body sharply - and awkwardly - around.
I do love the torso muscle contortions. It makes you feel the horror and pain; almost enhancing the depth of the marble.
The Lapith has such an elegant & vibrant cloak, amazing physique and quite beautiful. I wonder if the monotheists smashed off his todger.
The centaur about to smash a water-jar down on his opponent.
The heads are in Copenhagen. They were taken by Captain Hartmann, of the Venetian army that occupied Athens in 1688.
The Lapith punching the Centaur with his left hand while driving his right hand to strike.
Poor Lapith ... that centaur’s hoof fills me with horror!!
I love the lapidary cloaks flapping and flying; and the action and movement. I really think these Greek sculptures are pure theatre.
I love this metope. A bit of comraderie (or so it seems).
Here, a young Lapith is embraced by a Centaur.
Phidias was just so anatomically accurate and scientific. He writhed the bodies to tell a story. And gave them so much power and vivacity - e.g. the fabulous cloak.
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The West Pediment
The West Pediment is meant to depict Athena and Poseidon vying for patronage of Athens. The Gods stand in the centre, having raced to the Acropolis in their chariots - heralded by the messenger.
A youthful God - in nude - reposeful (at the corner of the pediment) as he comes out of the river water.
It’s tragic that so much was lost. Thankfully, we have Jacques Carrey who made some drawings of the pediment structure to help us understand things.
This battered torso is supposed to represent Hermes, the god of messengers. He conducted Athena’s chariot to the Acropolis.
This is supposed to be the front of Poseidon’s muscular torso.
As mentioned above, it is part of the Pediment’s contest of a race to the Acropolis.
I really love this one. I think it’s the drapery flapping and rushing against her body. I like the hint of her rounding breasts. Very beautiful.
This is supposed to be Iris; a messenger goddess. She acted as herald for the chariot group of Poseidon.
In line with the chariot race of the Parthenon frieze; this is Amphitrite, goddess of the seas and wife of Poseidon.
She drove his chariot. You can tell her femininity.
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The South Frieze
These south frieze chariots were badly damaged in the explosion in the Parthenon in 1687.
The chariots are probably being reined back to standstill.
Once again, the beauty in the horses is incredible.
Very dramatic and highly accomplished.
No less than four horses (top right) are vividly portrayed with tossing heads and flickering manes.
Here, a youth turns around to notice something; and then leads the cow who raises its head in objection.
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The East Frieze
Here we see girls carrying jugs - which we can make out in the hand of the leftmost girl - for the pouring of liquid sacrifice.
They are part of the pageant of the Panathenaic procession. Amazing drapery.
Shame so much was destroyed.
Another one I love.
This is Hermes, the messenger god (not the parcel company), and he sits nonchalantly observing the procession.
He is wearing some sandals, with a petasos hat on his lap.
I love how the lapidist has carved the contours of his relaxed torso. Once again, I would love to have actually seen that face.
The figure leaning on him is supposed to be Dionysus, the god of booze.
From the right: Zeus and his wife, and then Iris.
Enthroned Zeus, with sandals. His wife Hera draws back her veil. Behind her Iris, messenger God.
The Zeus and Hera scene feels quite intimate.
This is an amusing one. A marshal is shown directing the traffic.
Only the hands remain of the charioteer and foot soldier.
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The East Metopes
Amazing and dramatic.
The Centaur - on hind legs - rears up to strike a Lapith who fends him off with his foot and hand.
The marble flexing of the muscles on the leg are incredible. And the upturning of the toes, like that, feels quite painful. The legs are beautiful. And the Lapith’s balls seem so delicate and vulnerable. His cloak seems like some theatrical curtains.
Love it.
Wow. So theatrical and dramatic.
In this metope, the centaur is reaching around for a wound in his back. Probably a serious one. The awkward distortion of the centaur’s arm indicates some pain. While beside him, the Lapith magnificently restrains him and seemingly prepares the coup de grace.
The Lapith’s cloak fans out - like a butterfly - for a dramatic backdrop.
Amazing.
Another amazing metope.
A centaur triumphant over a fallen Lapith. Full of both exaltation and pathos.
Over his left arm, is an incredible panther skin with tail and paw flying in the wind.
Beautiful.
Centaur carries off a struggling girl. Seems a stoic calm expression - which belies his intention.
Amazing again.
Both centaur and Lapith fighting. The Centaur - with gruesome face - seems to have Lapith by the throat as he tries to fend him off.
Foot and hoof intertwined. Both faces feel mask-like.
Horrible and dramatic.
The coup de grace by the triumphant centaur gripping his hair, while the poor Lapith grabs a stone on the floor.
There’s something horrifying in Lapith. Both the distressed eyes, grim face, exposed naked body, hoof about to strike his chest (or worse) ... and against which the edifying beauty of both forms.
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The East Pediment
A young male god sits reclining on a rock. Probably Dionysus, god of wine.
It’s a shame so much has been lost. It must have made an imposing sculpture.
Here a girl is shown moving rapidly - floating and flapping - away from the centre.
From left to right:
There is an elegant seated goddess on the point of rising, perhaps alarmed by events to her right. The tunic that she wears is so delicate and beautiful. It seems to flow over her body with such grace - across her breasts. The way it folds over the knees is quite amazing.
Then, we see a goddess reclining in the lap of her companion. Perhaps Aphrodite? Her posture counter-poses the young male above; and she seems to be quite seductive and beautiful. Love it.
We know quite a bit of these sculptures because, in the 17th century, Carrey sketched them:
Their faces may have been destroyed in the siege of the Acropolis by the Venetians.
Incredible horse’s head. Amazing!
Slack jaws, mouth exhausted, eyes bulging. This horse has been to war.
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The North Frieze
Rider is looking back along the procession, checking-on what is happening.
Wow.
The horsemen and horses are all in different head postures - no doubt reflecting different moods and sensibilities.
I love the detail and drama - the sandals, horses neighing, clothes and drapery. It’s really amazing.
Amazing interaction.
It looks like a horseman or some pedestrian is beckoning the procession.
It looks like 2 people are following close-by; and one of them seems to be looking at us.
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Last few pics
The room’s design and colour scheme beautifully complements the marbles.
Nice to see so many people enjoying museums.
