DOI article:
Essay VII: The central slab of the Parthenon frieze and the Copenhagen plaque
DOI Page / Citation link:https://doi.org/10.11588/diglit.11444#0267
VII.] THE CENTRAL SLAB OF THE PARTHENON FRIEZE. 2j5
taining between the corresponding figures of the British Museum
marbles. The interval between the boy and the Athene of the
terra-cottas corresponds exactly to that of the marble reliefs,
as does also the relative height of the head of the boy as
measured by the Athene, in both instances the top of the head
of the boy reaching to the beginning of the head of the Athene.
The top of the peplos with the hand in both instances is on
a line with the crown of the head of Athene. So too the
distances from the traces of the head (in the terra-cotta),
the head of the priest itself (in the marble), the top of the
peplos, the head of the boy, and that of the Athene, to the upper
border of the frieze are the same in both instances. As in the
Paris fragment the Copenhagen terra-cotta has the same marked
character of the Pheidiac relief-technique which we noticed in
the previous essay : the sharp perpendicular edges firmly worked
down to the back-ground, and the decided outline.
Of the priest there remains in the terra-cotta but the right
fore-arm, the left shoulder with the visible hand, and the
drapery of his garment comprised between these two points.
The round outline of the breakage towards the left top clearly
shows the outline of his head which holds the same position
as in the original. The draped shoulder exactly corresponds,
as also does the hand of the priest, of which the fingers appear
on the upper end of the peplos.
The peplos is most strikingly the same in all its detail.
Nay, in many ways the terra-cotta enables us to complete the
modelling of the cloak and to notice lines which before escaped
our eye in the marble, which, from its prominent relief has been
very much effaced. This is especially the case with three small
folds which are quite rubbed out in the marble, the traces of which
can however distinctly be seen when guided by the terra-cotta.
All the folds in the peplos are the same in both instances. The
indentation caused on the peplos by the hand of the boy is very
marked in both instances. So also the swelling out of the cloth
between the fore-finger and thumb. However in the marble the
outer or upper piece of the folded garment has four grooves on
the side to indicate the folds, while in the terra-cotta there are but
three. But in so small a model, especially a' first state,' more lines
could not well be brought in, nor was there any need for this.
taining between the corresponding figures of the British Museum
marbles. The interval between the boy and the Athene of the
terra-cottas corresponds exactly to that of the marble reliefs,
as does also the relative height of the head of the boy as
measured by the Athene, in both instances the top of the head
of the boy reaching to the beginning of the head of the Athene.
The top of the peplos with the hand in both instances is on
a line with the crown of the head of Athene. So too the
distances from the traces of the head (in the terra-cotta),
the head of the priest itself (in the marble), the top of the
peplos, the head of the boy, and that of the Athene, to the upper
border of the frieze are the same in both instances. As in the
Paris fragment the Copenhagen terra-cotta has the same marked
character of the Pheidiac relief-technique which we noticed in
the previous essay : the sharp perpendicular edges firmly worked
down to the back-ground, and the decided outline.
Of the priest there remains in the terra-cotta but the right
fore-arm, the left shoulder with the visible hand, and the
drapery of his garment comprised between these two points.
The round outline of the breakage towards the left top clearly
shows the outline of his head which holds the same position
as in the original. The draped shoulder exactly corresponds,
as also does the hand of the priest, of which the fingers appear
on the upper end of the peplos.
The peplos is most strikingly the same in all its detail.
Nay, in many ways the terra-cotta enables us to complete the
modelling of the cloak and to notice lines which before escaped
our eye in the marble, which, from its prominent relief has been
very much effaced. This is especially the case with three small
folds which are quite rubbed out in the marble, the traces of which
can however distinctly be seen when guided by the terra-cotta.
All the folds in the peplos are the same in both instances. The
indentation caused on the peplos by the hand of the boy is very
marked in both instances. So also the swelling out of the cloth
between the fore-finger and thumb. However in the marble the
outer or upper piece of the folded garment has four grooves on
the side to indicate the folds, while in the terra-cotta there are but
three. But in so small a model, especially a' first state,' more lines
could not well be brought in, nor was there any need for this.