"Elgin marbles" Quotes from Famous Books
 ... the road I came upon the Border Mounted Rifles, saddles off, and lolling on the grass. All farmers and transport riders from the northern frontier, lean, bearded, sun-dried, framed of steel and whipcord, sitting their horses like the riders of the Elgin marbles, swift and cunning as Boers, and far braver, they are the heaven-sent type of irregular troopers. It was they who had ridden out and made connection with the returning column an ...
— From Capetown to Ladysmith - An Unfinished Record of the South African War • G. W. Steevens
... clutch is excellent for a straight-forward, hot horse; it shortens the reins any length at one movement, with a very low, steady bearing. Two hands may be used (Fig. 5). I conceive this to be the Grecian mode of holding and handling the reins (see frontispiece and vignette, from the Elgin Marbles), except that the Greeks had one finger between the reins instead of two; and they held the reins, whether together or divided, between the thumb and the second finger. The first finger was thus detached, and used only for guiding, by which very distinct indications ...
— Hints on Horsemanship, to a Nephew and Niece - or, Common Sense and Common Errors in Common Riding • George Greenwood
... The Elgin Marbles were then kept at Burlington House, and these were a great source of inspiration to the Landseer boys. It gave them a true taste of the Grecian, and knowing a little about Greece, they wanted to know more. Greece became the theme—they talked it ...
— Little Journeys to the Homes of the Great, Volume 4 (of 14) - Little Journeys to the Homes of Eminent Painters • Elbert Hubbard
... given a proper focus to the matter, and this collection of beautiful things made by people dead these two thousand years is now known to be absolutely priceless, almost as much so as the Elgin Marbles, taken from the Parthenon at Athens and which now repose in the British Museum, the chief ...
— Little Journeys to the Homes of the Great, Vol. 13 - Little Journeys to the Homes of Great Lovers • Elbert Hubbard
... utensils, cakes, and all things necessary for the sacrifices. The procession formed the subject of the bas-reliefs which embellished the outside of the temple of the Parthenon. A considerable portion of these sculptures is now in the British Museum among those known as the "Elgin marbles." ...
— Bulfinch's Mythology • Thomas Bulfinch
... not confine themselves to the representation of man, but also carved animals with exceeding accuracy and beauty. Nicias was famous for his dogs, Myron for his cows, and Lysippus for his horses. Praxiteles composed his celebrated lion after a living animal. "The horses of the frieze of the Elgin Marbles," says Flaxman, "appear to live and move; to roll their eyes, to gallop, prance, and curvet; the veins of their faces and legs seem distended with circulation. The beholder is charmed with the deer-like lightness and elegance of their make; and although ...
— Beacon Lights of History, Volume III • John Lord
... a tiresome, facetious doctor, far more anxious to be funny than to sympathized with the child, "it was the purest Grecian, modeled from the Elgin marbles." ...
— The Art of the Story-Teller • Marie L. Shedlock
... traveller; and when he wishes that all the frescos on Italian walls could be obliterated, he only repeats a sentiment of similar strain. Perhaps we should class in the same category Hawthorne's remark concerning the Elgin marbles in the British Museum, that "it would be well if they were converted into paving- stones." There are no grander monuments of ancient art than those battered and headless statues from the pediment of the Parthenon (the figures of the so-called "Three ...
— The Life and Genius of Nathaniel Hawthorne • Frank Preston Stearns
... the truest grandeur of sculpture I believe to be in the white form; something of this feeling may be owing to the difficulty, or rather the immediately, of obtaining truly noble color upon it, but if we could color the Elgin marbles with the flesh tint of Giorgione, I had rather not have ...
— Modern Painters Volume II (of V) • John Ruskin |
