2 we are told that the Parthenon triglyphs were square and the metopes
rectangular when the reverse is the case, and that the frieze was `partly shadowed' by the peristyle, when it was entirely lit by reflected and never by direct light.
It did not include over 40 slabs from the Parthenon frieze, seven metopes
and several remaining pieces from the pediments that are in the British Museum today, as they did not arrive in London until 1812.
We stand there in the middle of a gallery that sets out the temple's sculpted pediments, metopes
and friezes according to the original plan.
Doric column: a channeled column without a base, having as a capital a circular echinus supporting a square abacus, above which comes a plain architrave, a frieze of triglyphs and metopes
, and a cornice the corona of which has mutules on its soffit.
Despite the dynamism of the juxtaposed figures of Christ and Aphrodite, God and Hephaestus, and despite the burning urgency in the sonnet's supplicative tone, like others in Gregg's collection, "Ravenous" transmits a Keatsian quietness: in keeping with the frieze conceit, Gregg's poem-sequence proceeds through moments of arrested action--like the metopes
on a Doric temple.
The British Museum includes a very extensive collection of architectural elements (pegs, capitals, metopes
, and so forth), and this tiny model is key to visualizing how they might have been placed.
The device of the Myrtle occurs elsewhere in Gonzaga iconography, as for example on one of the metopes
of the north facade of the Te Palace.
O, in the midst of the initial operation to remove the metopes
(the relief panels of Lapiths fighting Centaurs) from the temple, which was then being used as both a mosque and garrison.
Hungarian-born sculptor and engineer Istvan Botar, seen in this photograph taken by ROM photographer Leigh Warren in October 1961, is carving metopes
for the Greek Gallery, which opened the following year.
59) With permission from the Ottoman Empire, over the course of eight years Elgin's men removed "274 feet of frieze of marble blocks that surrounded the Parthenon's main inner chamber, fifteen of the ninety-two metopes
from the outer colonnade, and seventeen figures in the round from the triangular pediments.
The British Government subsequently purchased these marble slabs along with other parts of the architectural sculptures: the pediments (displayed at either end of the building with the Birth of Athena, and Athena's fight with Poseidon) and the metopes
(relief sculptures showing, for example, battles between the Greek gods and the giants, as well as the Greeks and the Amazons).
Temple decoration and cultural identity in the archaic Greek world; the metopes