DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.973#0037
EASTERN PEDIMENT OP PARTHENON. 29
closely associated, the figure K being made of a different
block from L and M). The figures are seated on rocks,
levelled on the top, and in the case of L, M, cut in step
form to suit the composition. The rocks are covered
with draperies. These three figures are considerably
more complete in Carrey's drawings than now, and the
motives can best be understood with the aid of the draw-
ings. The figure K half turned her head towards the
central scene. The right arm was bent at the elbow
towards the front of the body. The figure L was
headless in Carrey's time. The right arm according to
Carrey's drawing, was bent towards the right shoulder,
as if the action had been that of drawing up the edge
of the mantle with the right hand. The body of this
figure is bent forward and the feet drawn far back, as
would be the case with a person wishing to spring
up. This motive forms a contrast to that of the
reclining figure (M), whose right arm rests in her com-
panion's lap, and whose tranquil attitude and averted
gaze, shown by Carrey's drawing to have been directed
towards the angle of the pediment, seem to indicate
that the news of the birth has not yet reached her.
K wears sandals, a chiton with diploidion, and a mantle
of thick substance which passes across the knees, and over
the left shoulder, above which it may have been held
with the left hand. L wears a fine chiton, confined with
a cord beneath the arms, and a mantle covering the
back and passing across the knees. M wears a fine
chiton, confined at the waist by a girdle, and has a
mantle wrapped about her legs. She appears to have
worn a bracelet on the right arm.
The group is noted for the extraordinary richness and
variety of the drapery. There is a finely studied contrast
between the smaller creases of the garments and the
broad folds of the heavy woollen draperies.
closely associated, the figure K being made of a different
block from L and M). The figures are seated on rocks,
levelled on the top, and in the case of L, M, cut in step
form to suit the composition. The rocks are covered
with draperies. These three figures are considerably
more complete in Carrey's drawings than now, and the
motives can best be understood with the aid of the draw-
ings. The figure K half turned her head towards the
central scene. The right arm was bent at the elbow
towards the front of the body. The figure L was
headless in Carrey's time. The right arm according to
Carrey's drawing, was bent towards the right shoulder,
as if the action had been that of drawing up the edge
of the mantle with the right hand. The body of this
figure is bent forward and the feet drawn far back, as
would be the case with a person wishing to spring
up. This motive forms a contrast to that of the
reclining figure (M), whose right arm rests in her com-
panion's lap, and whose tranquil attitude and averted
gaze, shown by Carrey's drawing to have been directed
towards the angle of the pediment, seem to indicate
that the news of the birth has not yet reached her.
K wears sandals, a chiton with diploidion, and a mantle
of thick substance which passes across the knees, and over
the left shoulder, above which it may have been held
with the left hand. L wears a fine chiton, confined with
a cord beneath the arms, and a mantle covering the
back and passing across the knees. M wears a fine
chiton, confined at the waist by a girdle, and has a
mantle wrapped about her legs. She appears to have
worn a bracelet on the right arm.
The group is noted for the extraordinary richness and
variety of the drapery. There is a finely studied contrast
between the smaller creases of the garments and the
broad folds of the heavy woollen draperies.