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The Parthenon frieze

Author: Ian Jenkins
Publisher: Austin : University of Texas Press, 1994.
Edition/Format:   Book : State or province government publication : English : 1st Univ. of Tex. Press edView all editions and formats
Database:WorldCat
Summary:
The artistic genius of Athens in the fifth century BC reached its peak in the sculpted marble reliefs of the Parthenon frieze. Designed by Phidias and carved by a team of anonymous masons, the frieze adorned the temple of Athena on the Acropolis and represents a festival procession in honour of the Olympian gods. Its original composition and precise meaning, however, have long been the subject of lively debate.
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Additional Physical Format: Online version:
Jenkins, Ian (Ian Dennis)
Parthenon frieze.
Austin : University of Texas Press, 1994
(OCoLC)622990553
Material Type: Government publication, State or province government publication
Document Type: Book
All Authors / Contributors: Ian Jenkins
ISBN: 0292740387 9780292740389
OCLC Number: 31638838
Description: 119 p., 4 p. of plates : ill. (some col.) ; 23 x 28 cm.
Contents: The Parthenon and Athens --
The frieze and its subject --
A poem in stone --
The Peplos scene --
The arrangement of the frieze --
The frieze.
Responsibility: Ian Jenkins.
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Abstract:

The artistic genius of Athens in the fifth century BC reached its peak in the sculpted marble reliefs of the Parthenon frieze. Designed by Phidias and carved by a team of anonymous masons, the frieze adorned the temple of Athena on the Acropolis and represents a festival procession in honour of the Olympian gods. Its original composition and precise meaning, however, have long been the subject of lively debate.

Most of what survives of the frieze is now in the British Museum or the Acropolis Museum in Athens; the rest is scattered among a number of European collections. This book reconstructs the frieze in its entirety according to the most up-to-date research, with a detailed scene-by-scene commentary, and the superb quality of the carving is vividly shown in a series of close-up photographs. In his introduction Ian Jenkins places the frieze in its architectural, historical and artistic setting. He discusses the various interpretations suggested by previous scholars, and finally puts forward a view of his own.

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