Pictorial guide to Boston and the country around . JN THE CORRIDOR. 36 GUIDE TO BOSTON. tian and Assyrian sculpluro. ihc first, second and third Greekrooms, the room of Egyptian Antiquities to the left of the thirdGreek room, the room devoted to busts and small bronzes (Greekand Roman), to the Parthenon room. The different Greek roomsshow the course of Greek sculpture from its crude beginningsthrough every period of growth, until, in the Parthenon room,may be studied the highest development of that art. In theParthenon Room No. 422 is a model of the Akropolis. in its pres-ent condition, which
Pictorial guide to Boston and the country around . JN THE CORRIDOR. 36 GUIDE TO BOSTON. tian and Assyrian sculpluro. ihc first, second and third Greekrooms, the room of Egyptian Antiquities to the left of the thirdGreek room, the room devoted to busts and small bronzes (Greekand Roman), to the Parthenon room. The different Greek roomsshow the course of Greek sculpture from its crude beginningsthrough every period of growth, until, in the Parthenon room,may be studied the highest development of that art. In theParthenon Room No. 422 is a model of the Akropolis. in its pres-ent condition, which shows not only the principal monuments,but all the foundations of other buildings brought to light duringthe recent investigations, and also the grottoes and other fea-tures of the rock outside the walls. The principal buildings areindicated by inscriptions. After studying this plan of the Akro-polis one is betterpreparedto study the fragments of the gloriousTemple of Athena and the model of the southwest corner of. I ETRUSCAN ANTIQUITIES I i\^^ fj EGYPTIAN ANTIQUITIES ?| ,„,,,„„,, J I I EGYPTIAN | ^,,3^ | THIRDGREEK FRENCH AND PLAN OF THE FIRSTARRANGEMENT FLOOR. SIlOWlNc; THEOF THE CASTS. THE MUSEUM OF FINE ARTS AND OTHER COLLECTIONS. 37 this temple on a scale of one tenth, which stands in the corridordirectly opposite one of the doors of this room. The casts of theErechtheion should be studied immediately after the casts were placed in the Hall of the Maidens, because itwas the only room of sufficient height to admit the porch of theMaidens. Chronologically these details belong to the periodimmediately following that of the Parthenon sculptures. As theParthenon symbolizes the dignity and grandeur of Greek archi-tecture, so the Erechtheion illustrates its . apacity for grace andrefinement. Having finished an inspection of the Erechtheion. areturn should be made to the corridor and the tour room devoted to modern sculpture brings us a
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