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Word And Image In Ancient Greece$
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N. Keith Rutter and Brian Sparkes

Print publication date: 2000

Print ISBN-13: 9780748614066

Published to Edinburgh Scholarship Online: March 2012

DOI: 10.3366/edinburgh/9780748614066.001.0001

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Meaning and Narrative Techniques in Statue-Bases of the Pheidian Circle

Meaning and Narrative Techniques in Statue-Bases of the Pheidian Circle

Chapter:
(p.53) 4 Meaning and Narrative Techniques in Statue-Bases of the Pheidian Circle
Source:
Word And Image In Ancient Greece
Author(s):

Olga Palagia

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748614066.003.0005

This chapter looks at a number of problems of technique and interpretation posed by the four cult-statue-bases produced by Pheidias and his chief pupils, Alkamenes and Agorakritos. Pheidias led the way with his base for the Athena Parthenos in the Parthenon, completed just before the dedication of the statue in 438. This was followed by his own base for the Zeus at Olympia. The figures on Pheidias' base at Olympia were metalwork, those on the bases of his pupils were carved in marble; the evidence on the Parthenos base is inconclusive. The scenes are remarkable for their lack of narrative. The myths were recognised thanks to the names of the figures presumably painted on the background.

Keywords:   technique, interpretation, cult, statue, bases, Pheidias, Alkamenes, Agorakritos, Athena, Parthenon

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