Elgin Arguments

By Nigel Konstam

Nigel Konstam argues that the most highly praised among The Elgin Marbles, the highest achievement of Classical Greek sculpture, are in fact Roman reproductions of the original Greek sculptures that had been damaged by nearly 600 years of acid rain.

This theory gives us the first certain comparison of Greek originals with Roman copies. If the theory finds acceptance it should lead to a better appreciation of the Roman contribution to the evolution of art in Europe.

In this short book, Konstam explains his reasoning and presents the evidence by taking you on a tour of the works in The British Museum. The results are dynamite that will blow away long standing illusions in art criticism.

• Language: English
• Publisher: Nigel Konstam
• Release date: Oct 10, 2018
• ISBN: 9781386838760

Nigel Konstam

Nigel Konstam is a sculptor who has shown internationally. He now lives in Tuscany where he teaches sculpture, drawing and responsible art history at the Verrocchio Arts Centre, Caso;e d'Elsa, west of Siena, where there is also his museum.

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When the facts change, I change my mind (J.Maynard Keynes)

ELGIN ARGUMENTS

a guided revision of The Parthenon pediments in the light of new facts

by Nigel Konstam

Summary

It is universally acknowledged that the Elgin Marbles, so named because Lord Elgin rescued the sculptures from the ruins of The Parthenon, represent the highest achievement of Classical Greek sculpture. They were conceived and executed under the supervision of the supreme sculptor Phidias. However, a recent discovery of an industrial scale chimney situated 150m downwind from the west face of the Parthenon strongly suggests that the most highly praised among the works are in fact Roman reproductions of the original Greek sculptures that had been damaged by nearly 600 years of acid rain caused by the chimney effluent.

Pl. 1. This early engraving, c.1850, shows the blackened Parthenon ruins before restoration.

1a Parthenon.jpg

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If accepted this theory gives us the first certain comparison of Greek originals with Roman copies; The results are dynamite that will blow away long standing illusions in art criticism.

Abundant evidence in favour of this theory is available to the untutored eye at The British Museum. (Others have suggested Roman copies before* but Konstam is the first to demonstrate how that came about.) If the theory finds acceptance it should lead to a better appreciation of the Roman contribution to the evolution of art in