Youth Reclined - Elgin Marble, at The British Museum, London
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| Format: | Recurso digital |
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Zenodo
2026
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| _version_ | 1866901567186141184 |
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| author | Scan-the-World |
| author_facet | Scan-the-World |
| contents | A naked youth reclines in a pose well suited to the corner angle of the pediment. His languid form is thought to portray one of the rivers of Athens, perhaps the Ilissos. The Parthenon Marbles, also known as the Elgin Marbles are a collection of classical Greek marble sculptures (mostly by Phidias and his assistants), inscriptions and architectural members that originally were part of the Parthenonand other buildings on the Acropolis of Athens. Thomas Bruce, the 7th Earl of Elgin claimed to obtain in 1811 a controversial permit 'not to remove statues but what he might discover in specific excavation' from the Ottoman house, which then ruled Greece. From 1801 to 1812, Elgin's agents removed about half of the surviving sculptures of the Parthenon, as well as architectural members and sculpture from the Propylaea and Erechtheum. The Marbles were transported by sea to Britain. In Britain, the acquisition of the collection was supported by some, while others likened Elgin's actions to vandalism or looting. Following a public debate in Parliament and the subsequent exoneration of Elgin, the marbles were purchased by the British government in 1816 and were passed to the British Museum, where they stand now on display in the purpose-built Duveen Gallery. This object is part of Scan The World. Scan the World is a non-profit initiative introduced by MyMiniFactory, through which we are creating a digital archive of fully 3D printable sculptures, artworks and landmarks from across the globe for the public to access for free. Scan the World is an open source, community effort, if you have interesting items around you and would like to contribute, email stw@myminifactory.com to find out how you can help. |
| format | Recurso digital |
| id | zenodo_https___doi_org_10_5281_zenodo_20224770 |
| institution | Zenodo |
| language | |
| publishDate | 2026 |
| publisher | Zenodo |
| record_format | zenodo |
| spellingShingle | Youth Reclined - Elgin Marble, at The British Museum, London Scan-the-World Marble defining-beauty A naked youth reclines in a pose well suited to the corner angle of the pediment. His languid form is thought to portray one of the rivers of Athens, perhaps the Ilissos. The Parthenon Marbles, also known as the Elgin Marbles are a collection of classical Greek marble sculptures (mostly by Phidias and his assistants), inscriptions and architectural members that originally were part of the Parthenonand other buildings on the Acropolis of Athens. Thomas Bruce, the 7th Earl of Elgin claimed to obtain in 1811 a controversial permit 'not to remove statues but what he might discover in specific excavation' from the Ottoman house, which then ruled Greece. From 1801 to 1812, Elgin's agents removed about half of the surviving sculptures of the Parthenon, as well as architectural members and sculpture from the Propylaea and Erechtheum. The Marbles were transported by sea to Britain. In Britain, the acquisition of the collection was supported by some, while others likened Elgin's actions to vandalism or looting. Following a public debate in Parliament and the subsequent exoneration of Elgin, the marbles were purchased by the British government in 1816 and were passed to the British Museum, where they stand now on display in the purpose-built Duveen Gallery. This object is part of Scan The World. Scan the World is a non-profit initiative introduced by MyMiniFactory, through which we are creating a digital archive of fully 3D printable sculptures, artworks and landmarks from across the globe for the public to access for free. Scan the World is an open source, community effort, if you have interesting items around you and would like to contribute, email stw@myminifactory.com to find out how you can help. |
| title | Youth Reclined - Elgin Marble, at The British Museum, London |
| topic | Marble defining-beauty |
| url | https://doi.org/10.5281/zenodo.20224770 |