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Parthenon

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Jordan Fass
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« Reply #105 on: September 18, 2007, 01:49:02 am »



The so-called peplos scene, East V, 31-35, London.
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Jordan Fass
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« Reply #106 on: September 18, 2007, 01:49:45 am »

Influence

The earliest surviving works of art that exhibit traces of the influence of the Parthenon Frieze belong to the media of vase painting and grave stelae where we can find some echo not just of motifs, themes, poses but tenor as well. Direct imitation, and indeed quotation, of the Frieze begins to be pronounced around 430 BC. One striking example, an explicit copy, is a pelike attributed to the Wedding Painter (Berlin F 2357) of a youth “parking up” a horse exactly in the manner of the figure W25 on the frieze. Such clear references hold out the possibility of dating the progress of the relief by comparison with the much more easily datable contemporary pottery. More accomplished painters also found inspiration in the sculpture, namely Polygnotos I and his group, especially the Peleus Painter, the Kleophon Painter and the late work of the Achilles Painter. Later painters of talent also managed to capture the mood of eusebeia or thoughtful piety of the procession as, for example, on the volute krater of the Kleophon Painter of a sacrifice to Apollo (Ferrara T57), which shares the quiet dignity of the best of High Classical sculpture.

It is natural to look for resonances of the Frieze in Attic relief sculpture of the late 5th century; these may be discovered to some degree in the public works of the Hephaisteion frieze and the Nike Athena balustrade, where the imagery of the seated gods and the sandal-binder respectively likely owes a debt to the Parthenon. We can also look to traces found on the private commissions of grave stelae from the period, for example the “cat stele” from Aegina (NAMA 715) bears a distinct similarity to the figures N135-6. As does the Hermes of the four-figure relief known from a Roman copy (Louvre MA 854). Later classicizing art of the Hellenistic and roman eras also looked to the Frieze for inspiration as attested by the Lycian Sarcophagus of Sidon, Phoenicia, the Ara Pacis Augustae, the Gemma Augustea, and many pieces of the Hadrianic generation.

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Jordan Fass
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« Reply #107 on: September 18, 2007, 01:50:44 am »



Gemma Augustea, Kunsthistorisches Museum Vienna.
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« Reply #108 on: September 18, 2007, 01:52:22 am »

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« Reply #109 on: September 18, 2007, 01:53:27 am »

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« Reply #110 on: September 18, 2007, 01:54:19 am »

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« Reply #111 on: September 18, 2007, 01:55:18 am »

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« Reply #112 on: September 18, 2007, 01:56:10 am »

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« Reply #113 on: September 18, 2007, 01:57:01 am »

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« Reply #114 on: September 18, 2007, 01:57:51 am »



Man restreining a rearing horse. Fragment from the head and chest of figure 27 of west frieze block XIV of the Parthenon, ca. 447–433 BC.
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« Reply #115 on: September 18, 2007, 01:59:33 am »



Cattle led to the sacrifice. Blocks XLV, 137 and XLVI, 144 from the south frieze of the Parthenon, ca. 447–433 BC.
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« Reply #116 on: September 18, 2007, 02:00:38 am »



Youths leading a heifer to the sacrifice. Block XLIII (fig. 130-131) from the South frieze of the Parthenon, ca. 447–433 BC.
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« Reply #117 on: September 18, 2007, 02:01:33 am »

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« Reply #118 on: September 18, 2007, 02:02:35 am »



Girls walking in single line; the first one on the left carries a thymiaterion (incense burner), the others oinochoai (jugs) or phiales (bowls) for libations. Block VIII (fig. 57-61) from the south frieze of the Parthenon, ca. 447–433 BC.
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