Originally dated as 100-200 CE, the sculpture is now considered to be a modern forgery by the J. Paul Getty Museum. Broken off from a full-scale statue, the remaining upper portion of this figure represents a bearded man in a lunging active pose. The figure's thickened ears, heavy brow, and developed musculature suggest that he is probably a pugilist or boxer. The facial features and beard of the figure resemble those frequently used for depictions of Herakles, perhaps indicating that this was a statue of that hero in action. With his now-broken arm reaching out into space, the figure's pose and his bulked-up musculature are reminiscent of sculpture of the Late Hellenistic period. The sculpture is not Hellenistic, however. And although the incised pupils of the statue clearly identify it as Roman, recent studies by conservators indicate that it is, in fact, a modern object. --The J. Paul Getty Museum
Pentelic marble caryatid from the Erechtheion. This is one of six caryatids that held up the roof of the Erechtheion. She wears a peplos pinned on each shoulder. Her hair is braided and falls in a thick rope down her back. She probably held a sacrificial vessel in one of the missing hands. The figure strongly resembles the women of the east frieze of the Parthenon, which had just been completed when work on the Erechtheion began. She carries an architectural capital like a basket on her head. The weight she bears is taken on the right leg, encased in perpendicular folds. The other leg is flexed with the drapery moulded to it. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892
Seated, over life-sized marble statue of a youth. The features are much worn, the nose being rubbed flat and only traces of eyes and mouth being visible. The face was full and beardless, the lips thick and bowed; the nose was short and the eyes straight and small. The left ear is much injured, but the right is large and powerfully formed. The hair is drawn back in long straight tresses with rows of thin bead-like locks, separated by grooves; four pointed plaits fall on each shoulder. The hands rest on the knees. The scale is over life-size and the proportions are heavy and rounded with massive chest and curving shoulders. The folds of drapery are in very low relief and the projection of the legs in front of the throne is shallow. The legs are not separately indicated underneath the mantle. The drapery consists of a sleeved Ionic chiton and a mantle; the latter passes over the left shoulder, round the back to the right shoulder, then in a loop under the right arm across to the left shoulder, both ends falling at the left side, where they are kept in place by a weight. The edge across the breast is turned over. The drapery is treated in very flat planes; two such are shown on the front of the mantle. The lower chiton is a plain splayed surface; there are no folds between the feet, over which the edge is arched. The throne is a simple rectangular structure, without indication of mortising; it is unfinished on the back, which is high, reaching almost to the crown of the head. No cushion is shown, the line of the drapery being continued on the underside of the arm-rests. Several crosses are scratched on the lap. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892; Tuchelt, Klaus, Die Archaischen Skulpturen von Didyma, Volume 27, Berlin, Verlag Gebr. Mann, 1970
Seated, over life-sized marble statue of a youth. The features are much worn, the nose being rubbed flat and only traces of eyes and mouth being visible. The face was full and beardless, the lips thick and bowed; the nose was short and the eyes straight and small. The left ear is much injured, but the right is large and powerfully formed. The hair is drawn back in long straight tresses with rows of thin bead-like locks, separated by grooves; four pointed plaits fall on each shoulder. The hands rest on the knees. The scale is over life-size and the proportions are heavy and rounded with massive chest and curving shoulders. The folds of drapery are in very low relief and the projection of the legs in front of the throne is shallow. The legs are not separately indicated underneath the mantle. The drapery consists of a sleeved Ionic chiton and a mantle; the latter passes over the left shoulder, round the back to the right shoulder, then in a loop under the right arm across to the left shoulder, both ends falling at the left side, where they are kept in place by a weight. The edge across the breast is turned over. The drapery is treated in very flat planes; two such are shown on the front of the mantle. The lower chiton is a plain splayed surface; there are no folds between the feet, over which the edge is arched. The throne is a simple rectangular structure, without indication of mortising; it is unfinished on the back, which is high, reaching almost to the crown of the head. No cushion is shown, the line of the drapery being continued on the underside of the arm-rests. Several crosses are scratched on the lap. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892; Tuchelt, Klaus, Die Archaischen Skulpturen von Didyma, Volume 27, Berlin, Verlag Gebr. Mann, 1970
The East pediment showed the miraculous birth of the goddess Athena from the head of her father Zeus. Many of the figures from the central scene are now fragmentary or entirely lost. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892; Jenkins, Ian, The Parthenon Frieze, London, BMP, 1994
The East pediment showed the miraculous birth of the goddess Athena from the head of her father Zeus. Many of the figures from the central scene are now fragmentary or entirely lost. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892; Jenkins, Ian, The Parthenon Frieze, London, BMP, 1994
This image is included in Building Oregon: Architecture of Oregon and the Pacific Northwest, a digital collection which provides documentation about the architectural heritage of the Pacific Northwest.
This image is included in Building Oregon: Architecture of Oregon and the Pacific Northwest, a digital collection which provides documentation about the architectural heritage of the Pacific Northwest.