The story of Pittsburgh: Education

Bibliographic data

Multivolume work

Identifikator:: 1831622599

Document type:: Multivolume work

Title:: The story of Pittsburgh

Place of publication:: Pittsburgh

Publisher:: First National Bank

Year of publication:: 1919-1930

Collection:: Economics Books

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Volume

Identifikator:: 1831623714

URN:: urn:nbn:de:zbw-retromon-241132

Document type:: Volume

Title:: Education

Volume count:: Vol. 1, nr. 14

Place of publication:: Pittsburgh

Publisher:: First National Bank

Year of publication:: 1928

Scope:: [ca. 80] Seiten

Digitisation:: 2022

Collection:: Economics Books

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Chapter

Document type:: Multivolume work

Structure type:: Chapter

Title:: Department of fine arts

Collection:: Economics Books

the seventh and sixth centuries, B. ¢., belong the Apollo from Tenea, the Archer, the Fighting Warrior, and the fragment of a bas-relief, Figure Mounting a Chariot. This was the period during which the sculptor by slow degrees perfected his art, securing first a greater degree of truth and realism, and later combining with these the supreme qualities of grace and distinction. The period of sculpture which is most completely represented is the period when the master sculptor, Phidias, was working in Greece. In the sculptured figures from the eastern pediment of the Parthenon, broken and fragmentary as they are, one sees the very perfection of the sculptor’s art. Russell Sturgis said, “There is no sculpture in the world finer than this. Nude forms and drapery alike are the models of all perfection.” These figures are installed on a long pedestal at one side of the hall. The Aphrodite of Melos, and the Giustiniani Athena, which stand at either end of the central part of the hall, are axamples of Greek art of the fourth century B. c. In the Roman period, sculpture lost some of the wonder- ful charm of grace and beauty which characterizes Greek sculpture of the fifth and fourth centuries B. c., but it still retained great power and nobility. To this period belong the two statues of Augustus. Adjoining the Hall of Sculpture is the Hall of Archi- tecture. The impressive character of this hall will be felt by everyone who sees it. Here, in the presence of the great cast of the Facade of the Abbey Church of St. Gilles, one is impressed by the dignity and beauty of Romanesque archi- tecture. So exactly does the clay-colored cast reproduce the stones and sculptures of the original that one seems to stand before the old French church itself. The three great doorways, with their round arches and sculptured decorations are beautiful in proportion and in design. The other casts of doorways, columns, and monuments which are installed in the central part of the hall are so arranged as to give an impression of imposing dignity. To the right of the center of the hall are two Greek portals, and between them is the beautiful Greek monument of Lysicrates, mounted on its high base. On the right of the entrance is a tall Greek column with its capital and entablature. and on

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