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diff --git a/old/63257-0.txt b/old/63257-0.txt deleted file mode 100644 index 2475db3..0000000 --- a/old/63257-0.txt +++ /dev/null @@ -1,2310 +0,0 @@ -The Project Gutenberg EBook of An Apology for the Colouring of the Greek -Court in the Crystal Palace, by Owen Jones - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: An Apology for the Colouring of the Greek Court in the Crystal Palace - -Author: Owen Jones - -Release Date: September 21, 2020 [EBook #63257] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK COLOURING OF THE GREEK COURT *** - - - - -Produced by Richard Tonsing, deaurider, and the Online -Distributed Proofreading Team at https://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - - - - - AN APOLOGY - FOR THE - COLOURING OF THE GREEK COURT - IN THE - CRYSTAL PALACE. - - - BY - - OWEN JONES. - -[Illustration] - - CRYSTAL PALACE LIBRARY; - AND - BRADBURY & EVANS, 11, BOUVERIE STREET, LONDON. - 1854. - - - - - BRADBURY AND EVANS, - PRINTERS TO THE CRYSTAL PALACE COMPANY, - WHITEFRIARS. - - - - - AN APOLOGY - - FOR THE - - COLOURING OF THE GREEK COURT. - - - BY OWEN JONES. - - WITH ARGUMENTS - - BY G. H. LEWES AND W. WATKISS LLOYD, - - AN EXTRACT FROM THE REPORT OF THE COMMITTEE APPOINTED TO EXAMINE THE - ELGIN MARBLES IN 1836, FROM THE TRANSACTIONS OF THE ROYAL INSTITUTE OF - BRITISH ARCHITECTS, - - AND - - A FRAGMENT ON THE ORIGIN OF POLYCHROMY, - - BY PROFESSOR SEMPER. - - - - - AN APOLOGY - FOR THE - COLOURING OF THE GREEK COURT. - - -The coloured or colourless state of the monuments of the Greeks, and -more particularly of their monumental sculpture, has long been a subject -of discussion in the world of art; a discussion which, although it may -have been carried on with too much faith on the one side, has certainly -been accompanied, on the other, with too much prejudice. - -At a very early stage in the arrangements for forming in the Crystal -Palace a series of reproductions of architectural monuments, I felt that -to colour a Greek monument would be one of the most interesting problems -I could undertake; not indeed in the hope that I might be able -completely to solve it, but that I might, at least, by the experiment -remove the prejudices of many. - -I felt persuaded that when we had a Greek monument placed side by side -with reproductions of other coloured monuments, the authorities for -which were indisputable, people would be more willing to recognise the -necessity for believing that the monuments of Greece were no exceptions -to those of civilisations which preceded or followed them, but that they -also like the rest were coloured in every part, and covered with a most -elaborate system of ornamentation. - -So early as the publication of the “Antiquities of Athens,” by Stuart -and Revett, the traces of ornaments on the mouldings of the Greek -temples were known and published by them, some of the painted ornaments, -however, which they found, being engraved in their work as if in relief; -but artists were for long after unwilling to accept these fragments as -evidence that an entire system of ornamentation prevailed on the Greek -buildings. The late Jules Goury and Professor Semper, from whom will be -found a paper on Polychromy in the Appendix, were amongst the earliest -to direct attention to this subject; but the most diligent labourer in -the field is M. Hittorff, of Paris, who has devoted many years to the -production of a magnificent work, in which will be found all the facts -that are known, and a history of the long discussion which this subject -has provoked. - -Mr. Penrose also, in his work on the “Principles of Athenian -Architecture,” has recorded all that he himself saw, but is reluctant to -believe that any ornaments existed where traces of ornament can no -longer be found. He feels that there is “some slight ground of evidence -that a peculiar yellow tinge upon some parts of the columns, especially -of the west front of the Parthenon, is not simply the yellow said to -result from the oxidation of iron contained in Pentelic marble, but has -been applied externally as a tint, though perhaps so delicately as -merely to reduce the high light of the marble without obscuring its -crystalline character.” - -He considers it “unreasonable to suppose that the ancients entirely -concealed, or even materially altered in appearance, the general surface -of the white marble, which they made a great point of obtaining whenever -possible; but that no one who has witnessed the painfully dazzling -effect of fresh Pentelic marble under the Athenian sun will deny the -artistic value of toning down the almost pure white of its polished -surface, and the more so when considerable portions of the architecture -were painted in the most positive colours. We need not suppose,” he says -further, “this tone to have produced more than the difference between -fresh white marble and ivory.” - -An examination of the facts recorded by these various authorities will -convince any one that the question is now narrowed to one of degree -only— - -“To _what extent_ were white marble temples painted and ornamented?” - -I would maintain that they were _entirely_ so; that neither the colour -of the marble nor even its surface was preserved; and that, preparatory -to the ornamenting and colouring of the surface, the whole was covered -with a thin coating of stucco, something in the nature of a gilder’s -ground, to stop the absorption of the colours by the marble. - -The Egyptians covered their buildings and statues in a similar way, no -matter what the material; the Greek temples, which were built of -lime-stone, were so undoubtedly; the ancient Greek terra-cottas almost -without exception have traces of this ground. - -To the belief that the Greeks employed it also on their marble temples, -there is only one stumbling-block—the artificial value which white -marble has in our eyes. - -The Athenians built with marble because they found it almost beneath -their feet, and also from the same cause which led the Egyptians to -employ granite, which was afterwards painted—viz., because it was the -most enduring, and capable of receiving a higher finish of workmanship. -With these high thoughts of perfection and durability, they not only -built their temples of Pentelic marble, but paved their carriage-way to -them with the same material. - -The ruin of the Parthenon, as seen at this day on the Acropolis, with -the rich tones which the sun of centuries has developed upon it, is a -very different thing from a bran-new white marble Parthenon, with many -of its enrichments _proved_ to have been picked out in the strongest -colours. Such a building would have been horrible to behold under any -sun, much more under that of Athens. - -Could we set aside the whole of the evidence to the contrary; could we -forget the paintings recorded on its cella walls—its interior filled -with upwards of six hundred statues, many of them of colossal -dimensions, enriched with painting, ivory, gold, and precious stones, -which would demand a far different treatment of the building which -contained them; could we forget that when a marble statue left the hand -of the first of sculptors, it passed into the hands of an equally -celebrated encaustic painter to receive its ultimate finish;[1] could we -forget the varieties of material which they combined, certainly -harmoniously, in the statues of their gods—the varieties of colour which -they gave to a material, by us considered to be so uniform as bronze, in -which to heighten the expression they wished to obtain; (by alloys of -iron, silver, and gold, used on the various portions of a figure, the -greatest known sculptors produced the paleness of death,—the blush of -shame,—the smile on the mouth,—the fire of the eye, and the healthy -redness of the cheek;)[2] the ornaments of metal with which many of the -marble statues were covered—earrings, bracelets, armlets, sandals, bands -round the hair, crowns, diadems of pearls, precious stones, eyes of -silver, glass, and precious stones; the metal crown of the Laocoon, the -metal casque of the statue of Mars, the metal drapery of the Antinous, -the earrings of the Venus de’ Medici, or her golden hair;—could we set -aside the evidence either of that which is recorded, or of that which -may still be seen, we should yet have felt that it must have been so, -from the knowledge we have of the practice of those civilisations which -preceded and followed that of the Greeks. How can one believe that at -one particular period in the practice of the Arts, the artistic eye was -so entirely changed that it became suddenly enamoured of white marble? -Such an idea belongs only to an age like that through which we have just -passed—an age equally devoid of the capacity to appreciate, and of the -power to execute, works of art—when refuge is taken in whitewashing. - -Footnote 1: - - See page 31. - -Footnote 2: - - See Quatremère de Quincey. - -Under this influence, however, we have been born and bred, and it -requires time to shake off the trammels which such early education -leaves. - -There is another theory which it is necessary to notice, viz., that the -marble was not painted, but stained in some way or other, so as still to -retain the transparency of the marble. As this has never been tried, and -can only be tried on marble, I dare not say that it would not produce an -agreeable result. I am not able, however, to conceive it, and feel -certain that it could not fulfil the required conditions of monumental -sculpture, though presenting more chance of success with isolated works. - -As far as regards monumental sculpture, the evidence of Mr. Bracebridge, -which was produced before the committee of the Institute,[3] would -appear to settle the point. The fragments dug up at Athens in the winter -of 1835–36, are stated by him to have been in perfect preservation, and -“_painted with the brightest red, blue, and yellow, or rather, -vermilion, ultramarine, and straw colour, which last may have faded in -the earth_.” He further states, that “_the colours were laid on in thick -coats_.” - -Footnote 3: - - See page 40. - - - COLOURING OF THE COURT. - -I may state at the outset that I have been restrained in this attempt at -rendering the effect of the coloured architecture of the Greeks—that I -have set bounds to my imagination. I most fully believe that the Greek -monuments were coloured and ornamented on a much higher key than I have -ventured to attempt, whilst the public eye requires preparation for -receiving what there are as yet so few facts to substantiate. - -The only portions of the colouring of this court for which there is -absolute authority, are the leaves on the moulding A, and the -enrichments on the pilaster-caps, D, which are thus published by Mr. -Penrose, in his work. Traces exist of the enrichment B, and the fret on -the architrave band, C, of a stain indicating the form of the ornament, -but without traces of colour. - -[Illustration] - -The colouring of the moulding A, which is known, is alone sufficient for -our purpose. It establishes two broad principles for our guidance; -first, that of the alternation of colour, second, that the colours were -so employed as best to define the moulding they enriched. - -Specks of blue and red (or, as observed by others, green and red) have -been found in several monuments on this moulding, which from its form is -more likely to have retained colour than any other. The absolute value -of these colours is of course not known; hence the liberty of believing -that they were only stains or tints, not positive strong colours. A -glance at the experiment is sufficient to upset this theory at once; the -ornament, with anything short of the strength of colour we have -employed, would have been invisible even at the height we see it, much -more so at the height the original was placed. - -As the bed-mould B represents, by the lines of the stain, similar -mouldings carved in relief in other monuments, I felt I was safe in -using the colours in such a way as best to represent the object it -imitated. I have therefore placed the gold where, had the ornament been -in relief and gold employed, gold must have been placed to have been -seen to the best advantage, that is, on the convex surfaces. So of the -other colours. - -In colouring the fret C I have followed the same principle; if they took -the trouble to paint so minute an ornament at such a height, we may be -quite sure that they took every pains to make it as distinct as -possible, and, therefore, in using blue and red alternately, I have -endeavoured to make the lines of the fret more apparent. - -I was led at once to adopt a blue ground for the frieze, occupying, as -it does, the place of the usual frieze of triglyphs and metopes in other -monuments where the blue ground predominated; I felt the Greek eye would -have demanded it here had such an arrangement as that of our frieze -existed on a Greek monument. - -The red within the wreaths was necessary, both for general harmony, and -also to prevent the eye passing through the wreaths, which would have -been the case had the blue ground been uninterrupted. - -The soffit of the cornice I have coloured red, because I have no doubt -that wherever blue, red, and yellow or gold were used, this must always -have been the place of the red; and I experienced great pleasure, when -in speaking on this subject with M. Hittorff of Paris, he brought forth -a fragment of a soffit from Selinus, which, as he held it in his hand, -showed a surface perfectly white, but removing his hand from it, -discovered a large patch of the strongest red still remaining on the -surface of the preparatory coat of stucco with which the temple at -Selinus was covered. - -[Illustration: Known.] - -[Illustration: Unknown.] - -The boldest step I have taken is in colouring the capitals of the -columns; the abacus E and the echinus F. - -The echinus of the Greek column is a moulding so perfect, and so much -refinement was used upon it by the Greeks, that few believe it was ever -intended to be ornamented. It is supposed that much of this refinement -was exercised by the Greeks on this curve in order to prepare it for the -shadow which the angle of the abacus cast upon it, and that all this -would have been lost or disturbed by a painted ornament on the surface. - -There are others, however, equally strong in the belief that it was -painted and ornamented, amongst whom M. Hittorff, who, in his work, -gives two illustrations from drawings of Greek columns on vases, one of -which has an ornamental abacus, and the other with the honeysuckle -ornament on the echinus. As all the ornaments on Greek vases are -analogous to those of Greek temples, it is fairly concluded that the -painter of the columns on the vases only represented what he was -accustomed to see on the columns of buildings. - -I am not alone in the belief that the echinus was ornamented with the -egg-and-tongue ornament; in fact, the form of the moulding suggests this -in preference to any other. It certainly gives the best form for -resolving the upward running-lines of the flutes. - -As from all the examples we have, the fret ornament is found universally -on flat bands, I have adopted it for the surface of the abacus, and have -chosen a fret which, returning within itself, prevents the eye from -running outwards, upwards, or downwards, which is generally the case -with most frets. - -The spandrils of the abacus I have supplied with an ornament which I -thought would best carry the eye from the square of the angle into the -circular moulding. - -It is difficult to suppose that the capitals of the columns could appear -unornamented side by side with pilaster-caps so elaborately enriched; -and we think it will freely be admitted that of the two, the known Greek -pilaster-cap, and that of my experimental column, the latter is more -quiet. - -A simple reference to the cuts will be sufficient to convince any -unprejudiced person that the minute scale of the ornaments on the -pilaster-cap demands a higher key of ornamentation than that I have -adopted. - -For the general tone of the plain portions of the monument, I have -adopted a general tint of yellow, but, as I said before, I believe that -the Greeks carried their ornamentation much beyond this. I think the -architrave was enriched with ornaments—certainly the soffits; and in -monuments like the Parthenon, I can come to no other conclusion but that -the columns were gold. - -In the flutes of the Ionic columns of the Erectheum red has been -distinctly seen. This can only have been the ground for gold; the -fillets which separate the flutes of the Ionic column may then have been -white, but the flutes of the Doric column presenting a sharp arris, -which could not receive colour to separate the colours of the flutes, -the columns must have had one uniform tint, whatever it might have been, -and we can conceive no other worthy of such a building as the Parthenon, -or able to support the decoration above, but gold. - -There is no authority for the gilding of the antefixæ, nor for the -guttæ, but their form suggests the only mode of treatment they could -receive with effect. - - CEILING UNDER THE GALLERY.—THE TWO END BAYS. - -[Illustration: Portion of the Ceiling, showing what is known of the -Decoration.] - -[Illustration: Portion of the Ceiling as Painted.] - -The diagram at once explains what is known in this attempt of supplying -the colours for a Greek ceiling; the colours however even of this are -doubtful. Traces only of the stains are known, and some of the ornaments -have been supposed to be coloured in such a way as to destroy the very -effect, which a mere glance at the diagram will show was intended to be -produced—viz., to imitate, or rather take the place of ornaments in -relief. The star in the centre of the coffer has traces of red upon it, -and has been published as a red star on a blue ground; but Mr. Penrose, -in his work, makes it gold, which is a much more probable arrangement. - -[Illustration: Painted Ornaments in the Centres of the Coffers of the -Ceiling of the Propylaea, Athens, as published by Mr. Penrose.] - -It will be seen that the parts I have supplied are frets on the plain -soffits of the beams and the ornament on the side of the beams; the -frets I have used in such a way as best to define the architectural -lines of the ceiling. - -Those who are inclined to believe that _wherever_ the Greeks ornamented, -_there_ traces of ornament are found, and that consequently where no -ornament is found none existed, of course stop at the stage represented -by the outline diagram, and believe that the general harmony which such -partial ornamenting would disturb was restored by covering all the plain -parts with stains or tints which may or may not have been varied. Till -more is known all this must ever remain matter of opinion and subject to -dispute. - -This opinion, however, is entirely based on the fact that the traces of -ornament which do remain are all engraved in outline on the marble with -a sharp instrument; and it is therefore concluded that this was the -universal practice of the Greeks, and that, where no engraved line -exists there was no ornament. I think this a very bold assumption. - -It is evident that in such enduring ornaments as those of the Greeks, -provision must have been made for repaintings; and, therefore, on their -moulded surfaces they took care to leave an enduring mark of the -pattern, more especially as these mouldings were in positions most -difficult of access; whilst on the broader surfaces this labour in the -beginning would not be necessary, as the ornaments may have been readily -repainted without it. - -In the three centre bays we have attempted a still higher key of colour. -The ornaments of the coffers are suggested by No. 2, from the coffers of -the Propylaea. - - - MOULDINGS ENCLOSING THE PANATHENAIC FRIEZE. - -The enrichment A, and the fret B and C, are published by Mr. Penrose; A, -coloured exactly as I have shown it, and B and C with the fret only in -gold, of which he imagines the pattern now on their surfaces may have -been the trace. - -[Illustration: Architrave Band, as published by Mr. Penrose.] - -The principle of colouring on the moulding A helps to the colouring of -the frets B and C, which, placed in the original 40 feet from the -ground, would have been invisible in gold alone or any other tint. - - - THE PANATHENAIC FRIEZE. - -I have placed in the gallery behind the Greek and Roman Courts, casts -from the Elgin frieze of the British Museum,[4] for the express purpose -of showing how it might possibly have been coloured. - -Footnote 4: - - The casts obtained from the British Museum were first fixed in their - place; the missing portions were then supplied, by inserting casts of - portions of the frieze found perfect in other parts of it. Thus, when - a head, hand, or foot was wanting, a cast was taken of a head, hand, - or foot, where found perfect, and then inserted. So that this frieze, - although not an absolute reproduction of the original, is as nearly as - possible all Greek. This restoration was confided to Mr. Raffaelle - Monti, assisted by Franz Mitterlöchner and Andreas Grass. - -[Illustration] - -That it was coloured in some manner or other there can be no manner of -doubt, and we think that any unprejudiced person who will examine the -portion of the frieze in white at the end of gallery, with the known -painted ornament above and below it, will at once admit this. There are -other considerations which would lead one to imagine it destined to -receive colour, even had no traces of colour been found on the -architecture above and around it. As there are still many who believe, -and will believe against all evidence, that this frieze never was -painted, I must bring forward some arguments which appear to me so -strong as to render the idea of its colourless state impossible. - -This frieze in the Parthenon is 40 feet from the ground to the centre of -it, and in the position A on the section (p. 17), whilst our experiment -is only 16 feet, to the centre of the bas-relief: to be seen at an angle -of 45°, the eye of the spectator must have been at least 60 feet from -it: now only let the visitor stand at this distance from the portion of -our cast that remains in white, and he will see how little of the detail -is visible to the eye. - -[Illustration: Section showing the position of the Panathenaic Frieze.] - -Let him place himself at the same distance from the portion of frieze -which I have painted, and he will see how visibly colour develops form. - -How many thousands pass daily the Athenæum Club in Pall Mall and are not -conscious that there is above their heads a copy of this divine work of -Phidias; if this were coloured (as it ought to be) who could pass by and -escape it. The frieze in the Parthenon could not have been seen without -colour as distinctly as the copy on the Athenæum Club, as it was under a -portico, and in shadow. - -People are apt to argue that Phidias never could have taken such pains -to study the light and shade of this bas-relief if the fineness of his -workmanship had had to be stopped up when bedaubed with paint. - -Now people who argue thus have never understood what colour does when -applied to form. The very fact that colour has to be applied, demands -the highest finish in the form beneath. By more visibly bringing out the -form it makes all defects more prominent. Let any one compare the -muscles of the figures in white, with the muscles of those coloured, and -he will not hesitate an instant to admit this truth. The labours of -Phidias, had they never received colour, would have been thrown away; it -was because he designed them to receive colour that such an elaboration -of the surface was required. - -My attempt is seen under every disadvantage; it is too near the eye and -too near the light; and it is painted on a material which is most -ungracious for the reception of colour. The minute undulations of marble -always lose something in a plaster reproduction, but when the plaster -has further to be painted with four coats of oil paint to stop the -suction, it may readily be imagined how much the more delicate -modulations of the surface will suffer. - -I have preferred, however, to put forth this experiment with all its -disadvantages, than attempt to soften the asperities by any artificial -arrangement, convinced that if it can find some favour in its present -position, it would gain immeasurably by being seen in a position -analogous to that occupied by the original. - -It will be seen further on that no traces of colour exist at the present -time on these marbles. They were moulded in Athens prior to their -removal to this country, and whatever colour they may have then retained -disappeared during the cleansing of the marbles by soap-lees, after the -process of moulding. - -We are therefore driven to the remains of colour on other monuments, and -to analogy for the proposed restoration of the several colours. - - - BACKGROUND. - -The colour of the background of some of the pediments of the Greek -temples is known to have been blue, and if we admit that the bodies of -the figures were painted at all, it could have been no other colours. -The flesh colour being necessarily some kind of red, would have been -injured by a red ground, while yellow would have advanced to the eye, -and can form a background only to white, the only colour more advancing -than itself. I believe, and it is generally accepted as proven, that the -ground was blue; and as there are many who stop here, admitting the blue -ground, but denying the colouring of the figures, a portion of the -frieze has been left in this stage, to enable them to form a judgment -upon it. - - - THE HAIR. - -When I first attempted the experiment, I had a strong instinct that the -hair should be gold; but not having the authority for it, I was induced -to try it both brown and grey; neither of these colours, however, was -satisfactory, but having afterwards seen the collection of terra-cottas -in the Louvre, I became convinced that I was right in supposing that -they should be gold. In all these specimens the hair is of an intense -red, which can only have been the ground of gilding, now obliterated. In -the Elgin frieze, in the British Museum, may still be seen the holes -which were drilled to fix on the metallic trappings, which were also, no -doubt, gilt; and were these affixed in our experiment, the effect would -be much more harmonious. - - - THE FLESH. - -The most difficult point to determine, is the colour of the flesh. It is -evident that the Greeks would avoid every attempt at representing -nature. Whatever colours they used, we may be sure that they were -treated conventionally only, so as to suggest the nature of the object -represented, yet not to attempt a direct imitation; we must feel, -however, that they went to the utmost limit of conventionality. - -M. Hittorff has in his possession a fragment of a figure from Selinus, -retaining a flesh colour very similar to that which we have employed. - -Although colour has been found on the hair, eyes, lips, and drapery of -Greek fragments of marble, no traces have as yet been found on the nude -portions. And those who believe that the marble of the Greeks was only -stained and not painted, build up a triumphant argument on this. The -explanation, however, is very simple; it is evident that the smooth -portions of a coloured object would lose their colour first under the -influence of time, and, in fact, all traces of colour that ever are -found, are found in the folds and crevices, from which it is fairly -argued that the surface of which they formed a part was of that colour. - -Even in the Alhambra, which was entirely covered with colour, and which -is so many centuries nearer our time than the Greek temples, colour is -but rarely found on the surface: it is only by what is found in the -depths and hollows, that we know how the whole was coloured. - -On the terra-cottas of the Louvre there are figures where the white -ground with which the whole surface of the terra-cottas was covered, -remains perfect over the whole of the figures, at the same time that a -fragment of flesh tint still remains upon some portion of it. Were this -absent, it might equally well be argued, that the Greeks were in the -habit of painting the flesh white on their terra-cottas. - - - HORSES. - -In seeking a colour for the horses, I felt the choice lay between red, -white, black, or grey; further, that whatever colour was employed, it -would be in such a way as best to define and distinguish the various -portions of the groups. I do not think that a single colour, or shades -of the same colour, would have fulfilled this condition. White horses -would have been too prominent, black too sombre. The red I have employed -appeared to be the best colour for the principal horses, as best -balancing by their masses the blue background, whilst the relief between -horse and horse could be harmoniously obtained by the employment of grey -for the back horses. Authority for this mode of treatment exists on the -Greek vases and in the Etruscan tombs, where, when one horse passes -before another, there is a change of colour. As the horses in this -frieze are in ranks of nine, it is most probable that there was still -more variety of colour than I have attempted, to keep the various groups -together. - - - THE DRAPERIES. - -I was led to adopt this mode of treating the draperies from the -inspection of the Louvre collection of terra-cottas, where the draperies -are very well preserved. They are mostly pale blue and pale pink, the -pale blue with a pink border and the pink drapery with a blue border. I -have arranged the draperies in the way I felt most conducive to the -general effect, so as to bring the whole into harmony. The colours of -the other portions of the dresses are suggested by the materials which -they may be presumed to represent. - -In placing this experiment before the public, I am quite aware how vain -would be the hope that I had produced a result worthy of the Greeks; -where there is so little to guide, success is well nigh impossible. The -most that I could hope to attain was to produce a result that might have -existed, and that would not have been discordant with the other portions -of a Greek monument. My failures even would answer a useful purpose, if -they served to direct other minds to work out this most interesting -problem, and to induce further researches on the monuments of Greece, -which have hardly yet been examined in this direction, because they have -not as yet been examined with faith, but rather with reluctance. - -The experiment cannot be fairly tried till tried on marble, and in -conditions of space, atmosphere, &c., similar to those under which the -originals were placed. - -I would ask those critics who stand on the ground of traditional -opinion, not too rashly by hard words to attempt to stop the inquiry -which this experiment may suggest. The facts are too strong to be put -aside by any opinion. If all who are anxious for the truth will only -seek it, there is little doubt that we may approach, if we do not reach -it. - -I have done all in my power to aid the cause. I have stood in the -breach, and shall be content should others walk over me to a more -complete victory. I am only anxious, in the meanwhile, that the Greeks -should not be condemned on my account. - - -I have no authority whatever for the colouring of the monument of -Lysicrates in the Great Transept. One fact deserves to be recorded, the -beautiful bas-reliefs of the frieze were absolutely invisible from -below, when in white, and this made me certain that it was a monument -designed to receive colour, and I therefore determined to attempt its -restoration. - - OWEN JONES. - - CRYSTAL PALACE, _June, 1854_. - - - NOTE BY MR. PENROSE. - -I have seen no reason to alter my opinion (quoted p. 6) that the surface -of the marble played a considerable part in the general effect, and that -it was not concealed with paint, but tinged or stained in some manner to -the proper tone. An extensive and careful examination of the Pentelic -quarries by the orders of King Otho has shown that large blocks such as -were used at Athens are very rare indeed. The distance also from the -city is considerable: whereas there are quarries on Mount Hymettus at -little more than one-third of the distance (and most convenient for -carriage), which furnish immense masses of dove-coloured marble (much -prized, it would seem, by the Romans, Hor. ii. 18), and inferior in no -respect but that of colour to the Pentelic. It could therefore only have -been the intrinsic beauty of the latter material that led to its -employment by so practical a people as the Athenians. With respect to -the use of the outline traced with a sharp point (p. 16), had this been -a provision for repaintings, its absence from the Doric echinus is at -least conclusive that there was no ornament painted on that member; for -on no part of the architecture would the difficulty of reproducing the -pattern have been greater. But since these outlines are found -indifferently both on small and large mouldings, it seems to be a sound -conclusion which limits the painted ornaments to the parts so outlined. - - - REPLY. - -I do not think that, with our present ideas of economy, we are able to -appreciate the motives of the Athenians in choosing their marble from -the Pentelic quarries in preference to those of Mount Hymettus. We must -remember that the Greeks built for their gods; and the Pentelic marble, -by presenting greater difficulties in its acquisition may have been a -more precious offering. I can more easily understand this than the use -of granite by the Egyptians, which was sought for from quarries much -more distant, and presented difficulties of workmanship many times -greater. - -Mr. Penrose has examined most minutely the capitals of the columns of -the Parthenon, and is convinced that no outline of any kind exists upon -them; but I am not so convinced that there never was one there, because, -although outlines are found on fragments of some of the mouldings, they -do not exist everywhere on the same moulding: it is only under -favourable circumstances that the outline has been preserved. A Doric -echinus may yet be found with outlines upon it. - - OWEN JONES. - - - - - HISTORICAL EVIDENCE. - - - - - NOTE. - - -I have been favoured by Mr. G. H. Lewes with the following arguments -derived from a perusal of Quatremère de Quincey, Winckelmann, and the -passages of ancient authors which are supposed to throw light on this -question; these I have submitted to a well known authority on Greek -literature, Mr. W. Watkiss Lloyd, and place here his observations on the -argument of Mr. Lewes, as I am most anxious that the public should be in -possession of whatever can be said on either side. - - - - - HISTORICAL EVIDENCE. - - -The idea of the Greeks having painted their statues is so repugnant to -all our modern prejudgments, that the mind is slow in familiarising -itself with the fact, even when indisputable evidence is brought -forward. The Greeks were artists of such exquisite taste, and of -principles so severe, that to accuse them of having _painted statues_, -is to accuse them of committing what in our day is regarded as pure -“barbarism.” The Greeks did not aim at reality, but at ideality; and the -painting of statues is thought to be only an attempt to imitate reality. - -Nevertheless, however startling, the fact remains: the Greeks _did_ -paint their statues. Living eyes have seen the paint. Living testimony -supports the testimony of ancient writers, and all that will be -necessary in these pages is to furnish some of the principal points of -evidence. - -In the first place, the reader must get out of all sculpture galleries, -erase from his mind all preconceptions derived from antique remains and -modern practices. Having done so, let him reflect on the historical -development of sculpture, and he will see this idea of painted figures -falling in its true place. - -Sculpture of course began in Greece, as elsewhere, with idols. It is the -custom of all barbarous nations to colour their idols. The Egyptians, as -we know beyond all doubt, not only coloured, but dressed theirs. So did -the Greeks. It may be a question, whether the Greeks borrowed their art -from the Egyptians, improving it, as they did everything else. Let -scholars decide that question. This, however, is certain, that in either -case the Egyptian practice would obtain— - -1st. If the Greeks borrowed from the Egyptians, they would borrow the -painting and dressing. - -2nd. If they did not borrow—if their art was indigenous—then it would -come under the universal law of barbarian art; and painting would, at -any rate in the earlier epochs, have been employed. (We know that both -painting and dressing were employed in all epochs.) - -This being so, and the custom being universal, unless the change from -painted to unpainted statues had been very gradual, insensibly so, the -man who first produced a marble statue without any addition would have -been celebrated as an innovator. No such celebrity is known. - -Ancient literature abounds with references and allusions to the -practices of painting and dressing statues. Space prevents their being -copiously cited here. Moreover, many of them are too vague for _direct_ -evidence. Of those which are _unequivocal_ a few will be given. - -_Dressing Statues._—Pausanias describes a nympheum, where the women -assembled to worship, containing figures of Bacchus, Ceres, and -Proserpine, the heads of which alone were visible, the rest of the body -being hidden by draperies. And this explains a passage in Tertullian -(“De Jejun.,” 16), where he compares the goddesses to rich ladies having -their attendants specially devoted to dress them—_suas habebant -ornatrices_. For it must be borne in mind that the Greek idols, like the -saints in Catholic cathedrals, were kept dressed and ornamented with -religious care. Hence Homer frequently alludes to the offerings of -garments made to propitiate a goddess; thus, to cite but one, Hector -tells Hecuba to choose the most splendid _peplos_ to offer to Minerva -for her aid and favour. Dionysius, the Tyrant of Syracuse, according to -a well known anecdote, stripped the Jupiter of his golden cloak, -mockingly declaring that it was too heavy for summer, and too cold for -winter. - - “The golden cloak of the Sicilian Jupiter seems scarcely to illustrate - the subject of dressing statues—as it was probably not drapery, not - cloth enriched with gold—but solid, like the golden Ægis of the - Minerva of Phidias, which could be removed and replaced.”—W. W. LLOYD. - -These _dressed_ statues were for the most part _dolls_, however large. -The reader must remember that the dolls of his nursery are the lineal -descendants of ancient idols. Each house had its lares or household -gods; each house had its dressed idols. Statues, in our sense of the -word, were, it may be supposed, not dressed; but that they were painted -and ornamented there seems to be ample evidence. - -_Coloured Statues._—If we had no other evidence than is afforded in the -great _variety_ of materials employed—ivory, gold, ebony, silver, brass, -bronze, amber, lead, iron, cedar, pear-tree, &c., it would suffice to -indicate that the prejudice about “purity of marble” _is_ a prejudice. -The critic may declare that a severe taste repudiates all colour, all -mingling of materials; but the Greek sculptors addressed the senses and -tastes of the Greek nation, and did so with a view to _religious_ -effect, just as in Catholic cathedrals painted windows, pictures, and -jewelled madonnas appeal to the senses of the populace. - -The Greeks made statues of ivory and gold combined. They also combined -various metals with a view of producing the effect of _colour_. One -example will suffice here. Pliny tells us (lib. xxxiv. cap. 14) that the -sculptor of the statue of Athamas, wishing to represent the blush of -shame succeeding his murder of his son, made the head of a metal -composed of copper and iron, the dissolution of the ferruginous material -giving the surface a red glow—_ut rubigine ejus per nitorem æris -relucente, exprimeretur verecundiæ rubor_. Twenty analogous examples of -various metals employed for colouring purposes might be cited. -Quatremère de Quincey, in his great work, “Le Jupiter Olympien,” has -collected many. - -The reader may, however, admit that statues were made of various -materials, and that the bronze statues—which were incomparably more -numerous than the marble, may have been tinted, but still feel -disinclined to believe that the _marble_ statues were ever painted. A -few _decisive_ passages shall be adduced. - -Let it be remembered that Socrates was the son of a sculptor, and that -Plato lived in Athens, acquainted with the great sculptors and their -works; then read this passage, wherein Socrates employs, by way of -simile, the practice of painting statues: “Just as if, when painting -statues, a person should blame us for not placing the most beautiful -colours on the most beautiful parts of the figure—inasmuch as the eyes, -the most beautiful parts, were not painted purple, but black—we should -answer him by saying, Clever fellow, do not suppose we are to paint eyes -so beautifully that they should not appear to be eyes.” (_Plato_, “De -Repub.” _lib._ iv., near the beginning.) - -This passage would long ago have settled the question, had not the -moderns been pre-occupied with the belief that the Greeks did _not_ -paint their statues. They, therefore, read the passage in another sense; -many translators read “pictures” for “statues.” But the Greek word -ανδριας signifies “statue,” and is _never_ used to signify “picture.” It -means statue, and a statuary is called the maker of such statues, -ανδριαντοποιος. (Mr. Davis, in Bohn’s English edition of Plato, avoids -the difficulty by translating it “human figures.”) - - “This passage is decisive as far as it goes, but it does not touch the - question of colouring the flesh. It proves that as late as Plato’s - time it was usual to apply colour to the eyes of statues; and - assuming, what is not stated, that marble statues are in question, we - are brought to the same point as by the Æginetan marbles, of which the - eyes, lips, portions of the armour and draperies were found coloured. - I forget whether the hair was found to be coloured, but the absence of - traces of colour on the flesh, while they were abundant elsewhere, - indicates that if coloured at all it must have been by a different and - more perishable process—by a tint, or stain, or varnish. The Æginetan - statues being archaic, do not give an absolute rule for those of - Phidias. The archaic Athenian bas-relief of a warrior in excellent - preservation, shows vivid colours on drapery and ornaments of armour, - and the eye-balls were also coloured; but again, there is no trace of - colour on the flesh.”—W. W. LLOYD. - -Here is a passage which not only establishes the sense of the one in -Plato, but while unequivocally declaring that the ancients painted their -statues gives the reason why the paint is so seldom discoverable in the -antique remains. It is from Plutarch (“Quæst. Roman.” xcviii., at the -end): “It is necessary to be very careful of statues, otherwise the -_vermilion with which the ancient statues were coloured will quickly -disappear_.” - - “This passage refers to archaic sacred figures, and at Rome (not in - Greece), where after providing for the sacred geese and ganders, the - first duty of certain officials on taking office was to furbish the - _agalma_, or statue, which was necessary on ‘_account of the quick - fading of the vermilion with which they used to tinge the archaic - statues_.’ This is an accurate translation and a literal—and implies a - difference between the archaic and the more modern in respect of - colour, though not necessarily excluding all colour from the - latter.”—W. W. LLOYD. - -Had this passage been generally known the dispute could never have -maintained itself. There is nothing equivocal in the use of the word -μιλτινον, which means “vermilion;” nothing which admits of doubt in the -phrase ῳ τα παλαια των αγαλματων εχρωζον. And there are abundant notices -extant which illustrate it. One will suffice. The celebrated marble -statue of a Bacchante by Scopas is described as holding, in lieu of the -Thyrsus, a dead roebuck which is cut open, and the marble represents -living flesh. People have tried to explain this by saying that Scopas -discovered coloured veins in the marble, which he used to indicate -living flesh. The explanation is absurd. In the first place veins do not -so run in marble as to represent flesh; in the second, unless statues -_were_ usually coloured, such veins, if they existed, would be regarded -as terrible blemishes, and the very thing the Greeks are supposed to -have avoided—viz., colour as representing reality—would have been shown. - -But colour _was_ used, as we know, and Pausanias (“Arcad.” lib. viii., -cap. 39) describes a statue of Bacchus as having all those portions not -hidden by draperies, painted vermilion, the body being of gilded wood. -He also distinctly says that the statues made of gypsum were painted, -describing a statue of Bacchus γυψου πεποιημενον, which was—the language -is explicit—“_ornamented_ with paint” επικεκοσμημενον γραφη. - - “This statue was apparently ithyphallic, and probably archaic. Not - drapery, but ivy and laurel, concealed the lower part of it. The - colour of the exposed part was not local, but applied to the whole of - it.”—W. W. LLOYD. - -Virgil, in an epigram, not only offers Venus a _marble_ statue of Amor, -the wings of which shall be many-coloured and the quiver painted, but he -intimates that this shall be so because it is customary— - - Marmoreusque tibi, Dea, _versicoloribus alis - In morem_ pictâ stabit Amor pharetrâ. - -And in the seventh Eclogue, Virgil, speaking of the statue of Diana, -describes it as of marble with _scarlet_ sandals bound round the leg as -high as the calf. - - Si proprium hoc fuerit, levi de marmore tota - Puniceo stabis suras evincta cothurno. - -And there is a passage in Pliny which is decisive, as soon as we -understand the allusion. Speaking of Nicias (lib. xxxv. cap. 11), he -says, that Praxiteles, when asked which of his marble works best -satisfied him, replied, “Those which Nicias has had under his hands.” -“So much,” adds Pliny, “did he prize the finishing of Nicias”—_tantum -circumlitioni ejus tribuebat_. - -The meaning of this passage hangs on the word _circumlitio_. Winckelmann -follows the mass of commentators in understanding this as referring to -some mode of _polishing_ the statues; but Quatremère de Quincey, in his -magnificent work “Le Jupiter Olympien,” satisfactorily shows this to be -untenable, not only because no sculptor could think of preferring such -of his statues as had been better polished, but also because Nicias -being a _painter_, not a sculptor, his services must have been those of -a painter. - -What were they? Nicias was an _encaustic painter_, and hence it seems -clear that his _circumlitio_—his mode of finishing the statues, so -highly prized by Praxiteles—must have been the application of encaustic -painting to those parts which the sculptor wished to have ornamented. -For it is quite idle to suppose a sculptor like Praxiteles would allow -another sculptor to _finish_ his works. The rough work may be done by -other hands, but the finishing is always left to the artist. The statue -completed, there still remained the painter’s art to be employed, and -for that Nicias was renowned. - -Even Winckelmann (“Geschichte der Kunst,” buch I. kap. 2), after noting -how the ancients were accustomed to dress their statues, adds, “This -gave rise to the painting of those parts of the marble statues which -represented the clothes, as may be seen in the Diana found at -Herculanæum in 1760. The hair is blonde; the draperies white, with a -triple border, one of gold, the other of purple, with festoons of -flowers, the third plain purple.” - -There are still traces visible of gilding in the hair of statues. Even -the Venus de’ Medici has such. And the bored ears speak plainly of -earrings. - -While the testimony of antiquity is thus explicit, there is the still -more convincing testimony of living eyes, which have seen this painting -on statues. The celebrated Swedish traveller, Akerblad, says, “I am -convinced that the practice of colouring marble statues and buildings -was much more frequent than is supposed. The second time I visited -Athens, I had opportunity of narrowly inspecting the frieze of the -Temple of Theseus, and I came away convinced it had been painted.” -Quatremère de Quincey mentions statues he has seen, and refers -especially to the Apollo in the Louvre, made of Pentelic marble, almost -all over the naked surfaces of which a trace of red was faintly -perceptible. The same with a Diana at Versailles; but he adds, “these -traces grow daily fainter.” The eyes and mouth of the colossal Pallas de -Velletri still retain the violet colour. - -Such are a few of the evidences. On examining them, we find them not -only unequivocal in themselves, but complementary of each other. Living -testimony, supposing it to be accepted without demur, would not suffice -to settle the question of what was the ancient practice; for it might -not unreasonably be argued that these traces of painting on the statues -are only evidences of a degenerate taste—like our whitewashing of -cathedrals—and no evidences of Greek artists having perpetrated such -offences against taste. But when it is seen, by the testimony of ancient -writers, such as Plato, Pliny, Plutarch, and Virgil, that the Greek -artists _did_ colour their statues, the fact of the statues being -discovered with traces of colour is explained, while on the other hand -this fact helps to clear away all trace of doubt which might linger in a -supposed equivocalness in the passages from ancient writers. - - G. H. LEWES. - - “As regards archaic sculpture in Greece, we may be considered to have - decisive proof from Pausanias and others, that the ancient sacred - figures, that were rather venerated as idols than admired for art, - were often entirely coloured—flesh and drapery with vermilion, - perhaps conventionally and rudely enough, as we find on the archaic - vases, the flesh of women painted white, and that of men black. - - The marble statues of Ægina, and others, that are works of truly - fine art, offer a second form of the application of colour. Here - the eyes, lips, draperies, ornaments, and details of arms, have - their true local colour, but the monuments themselves only give - us the negative evidence with respect to the flesh, that if - coloured at all, it must have been less solidly. Unless it were - tinged or stained, it is difficult to understand how the effect - of the coloured part could have been otherwise than very - disagreeable—spotty, patchy, crude, ghastly to the last degree; - but the experiment might be tried. - - On the other hand, it is most certain that in the chryselephantine - statues, the Minerva of the Parthenon, the Jupiter Olympian, the - Juno of Argos, by Phidias, and by Polycletus, the greatest variety - of colour was applied throughout—or rather variety of colour was - given by the different materials of which these figures were - composed, ivory, gold, various coloured woods, stones and gems. But - painting or staining in the proper sense of the words, was certainly - applied to some portions; as, for instance, Pausanias states that - the robe of Jupiter had lilies painted on it. - - The application of colour to the details of the architecture at least, - and to portions of the architectonic sculpture, would be absolutely - required, to harmonise them with the chief object in the temple - itself. - - Lastly, as to the flesh of marble statues of the best age, no rule can - be deduced for this from any practice that obtained in primitive - times, or from chryselephantine works, which seem to have been in - designed contrast in the whole of their treatment. - - The argument for colour on marble flesh of the best age, from existing - remains, so far as I am aware, is equal to zero. But the passage - respecting Nicias and Polycletus, is of very great force. There is - no escape from its application to marble statues, nor from the great - skill that there was occasion and scope for in the _circumlitio_. - Whatever this tinging or colouring may have been, we may be sure - that it was so employed as to heighten the purest effects. The edge - and sharpness, and smoothness and brilliancy, of the material, - cannot have been destroyed by it; rather sobered it may be, but - still enhanced. Doubtless it aided the peculiar glories of - sculpture, the display of forms, by rendering them more - visible—idealised rather than imitated nature, and treated every - part under the law of regard to the supreme intention and sentiment - of the whole. The same remarks (such as they are) apply to - bas-reliefs, which, however, have difficulties of their own. - - Vitruvius (vii. 9), after describing the preparation of _minium_ or - vermilion, goes on to speak of its liability to change colour from - the action of direct sunlight, and gives instructions for protecting - it; he does not mention the medium employed with the colour, but as - it is insoluble, we must assume the use of size, as in other - instances, or gum, &c. The wall he is thinking of is apparently - stucco. - - ‘When the wall is painted with vermilion and dry, lay on with a brush - (of bristles, a hard or rough brush), Punic wax melted over the - fire, and a little tempered with oil; then by means of hot coals in - an iron vessel, warm the wall well and make the wax run, and - equalize itself; afterwards rub it with a wax candle and clean - cloths, as nude marble figures are treated.’ - - Pliny (xxi. 14) gives the preparation of Punic wax by a process of - which the chemical result, according to Dr. Turner, was a soap of - twenty parts wax to one of soda. He also (xxxiii. 7) describes the - same process as Vitruvius above, apparently copying him or a common - authority. The wax, he says, is applied hot, heated with coals - (admotis _gallæ_ carbonibus, whatever they may be), and then rubbed - with wax candles, and afterwards with clean linen cloths, as marbles - also become bright (or shiny), (sicut et marmora nitescunt). - - Now how much of the treatment thus expressed applies to sculpture? - Putting the case most strongly, it might be said,—the whole, and - that nothing less than the whole, will accord with the _circumlitio_ - of statues mentioned elsewhere, and by applying the whole we might - connect these notices with those of Plutarch and Pausanias of the - employment of vermilion in colouring statues, though these latter go - for very little as applicable to the best works of the best time. - The construction of the words of both authors imply in strictness - that the wax and linen rubbings of statues were applied to the wax - previously laid on and heated. - - The treatment of statues is referred by Vitruvius specially to the - nude; it seems, therefore, to have had connection with a design to - assist or heighten the effect of the sculptured nude flesh, as - distinguished from drapery, &c. This would be natural enough, though - no colours were employed, or not for every part, but if they were we - must suppose that Vitruvius has vermilion in his mind leading him to - limit his observation. Pliny’s expression shows that even assuming - colour there is no opaqueness in question. - - If a verdict were to be given on this evidence as it stands, I am much - disposed to think that it must be in favour of a tinge of vermilion, - protected by a brilliant varnish, having been applied to the nude - portions of (? some) marble statues in such a manner that both - colour and varnish assisted the fine surface and brilliant effect of - the lucent marble. So much for this part of the evidence and its - bearing on a final decision.”—W. W. LLOYD. - - - - - MATERIAL EVIDENCE. - - -In 1836 a committee was appointed by the Royal Institute of British -Architects, to examine the Elgin Marbles in the British Museum, in order -to ascertain whether any evidences remained as to the employment of -colour in the decoration of the architecture or sculpture.[5] - -Footnote 5: - - Extracted from the report of the committee, published in the - Transactions of the Royal Institute of British Artists, Vol. I. Part - II. 1842. - -This committee consisted of Mr. Hamilton, Sir Richard Westmacott, Sir -Charles L. Eastlake, R.A., Mr. Cockerell, R.A., Dr. Faraday, and Messrs. -Angell, Donaldson, and Scoles. The committee found on several -architectural fragments from the Erectheum and the Propylaea of Athens, -traces of ornaments which had been engraved with a tool on the surface -of the marble, and also verified a difference of texture in the parts -occupied by the coloured surface from the ground, but were unable to -decide “whether the parts now smooth and rough were originally in that -state, or whether the part now rough has become so in consequence of the -action of the atmosphere upon it, the smooth part having been protected -from that action by gilding or colour.” - -No traces of colour were discovered on any of the figures of the -bas-reliefs, metopes, or sculptures of the pediments, but it was stated -to the committee by Mr. Sarti, the modeller, who was engaged in taking -moulds of the whole series of the Elgin Marbles belonging to the -Parthenon, “that the whole surface of the marbles had been twice washed -over with soap leys, subsequently to their having been moulded on former -occasions, as that or some other strong acid is necessary for the -purpose of removing the soap which is originally put on the surface in -order to detach the plaster of the mould; Dr. Faraday was of opinion -that this circumstance was of itself sufficient to have removed every -vestige of colour, which might have existed originally on the surface of -the marble.” - -A letter was read to the committee, from Mr. Bracebridge, “forwarding a -memorandum of colours and patterns from the Erectheum; they are drawn -from the northern portico of that conjoint temple of Minerva Polias, -Pandrosus, and Erectheus, so well known in the Acropolis. This side of -the temple, being so well sheltered from the sea breeze, has preserved -its sculptured ornaments as fresh and sharp as if lately finished; and -the columns of this portico, being fluted with capitals elaborately -worked and well sheltered, have retained remains of colour. At the top -of the flutings especially, a thin coat of slate-coloured paint is -visible, at other points yellow and red colour may be traced; but the -remaining pieces are so small and the colours so much faded, as to leave -the subject in dispute; this being alone certain that there was once -colour carefully applied (at all events, to the entaglio parts of the -relief or concave parts of the capitals, &c.), and that this colour was -of various shades; the protuberant part of the work retains no colour. -The probability that blue, red, and yellow were used is very strong.” - -Mr. Bracebridge further states, that “in the winter of 1835–6, an -excavation was made to the depth of twenty-five feet, at the south-east -angle of the Parthenon; here remains were found of huge blocks of marble -fresh from the quarries, chippings, &c. &c.; and below these, fragments -of vessels, pottery, and burnt wood. No one who saw these could doubt -that a level was dug down to below that where the workmen of the -Parthenon had thrown their refuse marble, in fact the level of the old -Hecatompedon, of which possibly the burnt wood may have been the -remains. - -“Here were found _many_ pieces of marble, and among these fragments -parts of triglyphs, of fluted columns, and of statues, particularly a -female head (the hair is nearly the costume of the present day). - -“These three last-mentioned fragments were painted with the brightest -red, blue, and yellow, or rather vermilion, ultramarine, and straw -colour, which last may have faded in the earth. - -“These curious specimens are carefully preserved in the Acropolis, but -much fear is entertained of their retaining the brightness of their -highly contrasted colours for any length of time. The colours are laid -on in thick coats. The female face had the eyes and eyebrows painted. -When we consider the brilliancy of Pentelic marble when fresh worked, -there appears a reason for using colours beyond that of imitating the -usages of Attica, in more ancient temples, namely, that the minutiæ of -the work in many parts would have been lost to the eye amidst the -general brilliancy.” - -The committee finally concluded that “Upon a consideration of all the -facts in the preceding minutes, it appears to the committee, that there -remain no indications of colour artificially applied upon the surface of -the statues and bas-reliefs, that is upon the historical sculpture. -That, according to Dr. Faraday’s opinion, those portions of the marbles, -which, from the tone and surface might be supposed to be the result of -colour applied thereon, are the original surface of the marble, stained -by the atmosphere, the presence of iron in the marble, or by some such -natural cause. That some of the architectural fragments present -indisputable traces of tone, indicative of regular architectural -ornaments, and the outlines of such ornaments are distinctly traceable, -being marked with a sharp instrument on the surface of the marble. - -“The committee cannot positively state, from the appearance of the -marble, that such tones have been produced by colour, as they think that -none of the colour itself remains, but that the indication of tone -results from the mere variation of surface. Judging, however, from the -information contained in Mr. Bracebridge’s communication, there appears -no reason to doubt that colour has been applied. This is confirmed by -the portions of coatings brought from Athens by Mr. Donaldson, and -analysed by Dr. Faraday, who has detected frit, or vitreous substance, -and carbonate of copper, mixed with wax, and a fragrant gum. This -analysis proves that the surface of the shafts of the columns of the -Theseum and other parts of the edifices from which these coatings were -taken, were covered with a coloured coating. The glass eyes also of the -Ionic capitals of the tetrastyle portico of the Acropolis, at Athens, -prove, that various materials were employed by the Athenians in the -decoration of the exterior of their marble buildings. - -“But although the statues and bas-reliefs of the Parthenon, at least -those portions of them preserved in the Elgin Collection, do not afford -any evidence of the use of colour, yet there is a constant repetition of -small circular holes in the horses’ heads and manes, and in one hand of -each rider, showing that there had been originally bridles and straps to -the horses, either of metal, leather, or some other similar substance. -Similar holes are perceptible in the statue, No. 94 (in red), of -Proserpine, one of the two female figures of the eastern tympanum of the -Parthenon, called also the Seasons or the Hours; they are in the arm, -just above the wrist, apparently for the purpose of attaching bracelets, -and in the shoulders at the junction of the drapery, as though a metal -rosette had been affixed there. On the neck of one of the Fates, No. 97 -(in red), are also two holes, which seem to have been for a necklace. In -the back of the torso of Victory, No. 96 (in red), are large holes, in -which it is supposed bronze wings were fastened. No. 101 (in red) is a -fragment of the upper part of the head[6] of Minerva; the sockets of the -eyes are hollow, and were evidently filled with metal or with coloured -stones, and holes remain in the upper part of the head, affording a -presumption that there was originally a bronze helmet attached to the -marble. The angles of the ægis of No. 102 (in red), which is a fragment -of the statue of Minerva, one of the principal figures of the western -pediment, are drilled with holes, by which the metallic serpents were -attached, and in the centre a head of the Gorgon.” - -Footnote 6: - - “This fragment alone may perhaps be considered as an exception to the - previous statement, that there are no evidences of colour on the - statues or figures of the Parthenon. The hair appears to have a red - tint, which becomes distinctly apparent upon the application of - water.”—_Note of the Committee._ - - (Signed) - “THOS. L. DONALDSON, Hon. Sec.” - -The following is the report which was laid before the committee, from -Dr. Faraday, upon some portions of coatings of marble taken from several -buildings, at Athens, by Professor Donaldson. - - “MY DEAR SIR, - - “I return you the box, with the remains of the samples. - -“A. Portion of coating taken from the antæ of the Propylaeum. - - “The blue produced by carbonate of copper: wax being mingled with - the colour. - -“B. Portion of coating taken from the soffits of the mutules of the -Theseum. - - “The blue is a frit or vitreous substance coloured by copper. Wax is - present here. - -“C. Portion of coating taken from the columns of the Theseum. - - “I am doubtful about this surface. I do not find wax or a mineral - colour, unless it be one due to a small portion of iron. A fragrant - gum appears to be present in some pieces, and a combustible - substance in all. Perhaps some vegetable substance has been used. - -“D. Portions of coatings from the caissons or lacunaria of the -Theseum. - - “The blue is a copper frit, or glass, with wax. - -“E. Portions of coating from the northern wing of the Propylaea. - - “The colour a carbonate of copper. Wax is present. - -“F. Ditto, ditto (north wing of the Propylaea) as E. - -“I also return you the drawings and letter. - - “Every truly yours, - (Signed) “M. FARADAY. - - “T. L. Donaldson, Esq., &c.” - - - - - ON - THE ORIGIN OF POLYCHROMY IN ARCHITECTURE.[7] - - - BY PROFESSOR SEMPER. - -From the time of antiquity to our own day men have sought to discover or -invent the probable origin of the various systems of architecture. -Besides the well known _hut_ of Vitruvius, and the no less celebrated -_grotto_ of the Ichthyophagi or fish-eating races, (the supposed type of -the Egyptian temples), the tent of the Nomad, or wandering races, -occupies a very important place in our theories of the origin of styles. -In the catenary formed by the fall of the drapery of a Mongol tent, has -been recognised the type of Chinese and Tartar architecture. - -Footnote 7: - - Extracted from an Essay written in 1852, and published in Germany - under the title of “The Four Elements of Architecture.” By PROFESSOR - GOTTFRIED SEMPER. - -But no notice has been taken of the much more evident and less doubtful -influence, which drapery itself, in its quality of a vertical wall, or -partition, has exercised on certain architectural forms. Nevertheless it -is the _motif_ which I venture to cite, as the one on which ancient art -has been principally founded. - -It is well known that the nascent taste for the beautiful among those -races which are in a state of social infancy, is first exercised in the -manufacture of coarse tissues, which serve either as beds or as -partitions. - -The art of dress is less ancient than that of the manufacture of stuffs, -as several examples of people to whom clothing is unknown, and who -nevertheless possess an industry, more or less developed, in tissues and -embroidery, may satisfy us. - -The earliest woven work would seem to be the _fence_, that is, branches -of trees interlaced, serving the purpose of enclosure and of partition. -The most savage tribes are acquainted with this method of construction. -Thus the employment of coarse tissue or woven work (which was a mere -fence) as a means of securing privacy from the world outside certainly -far preceded the constructed wall of stone, or of any other material; -this last only became necessary at a much later period, for requirements -which in their nature bear no relation whatever to space and its -subdivision. The stone wall was made for greater security, longer -duration, and to serve as a support for heaps of various materials and -stores; in fine, for purposes foreign to the original idea; viz., that -of the separation of space, and it is most important to remark, that -_wherever the secondary motives did not exist, woven fabrics maintained, -almost without exception, especially in southern lands, their ancient -office, that of the ostensible separation of space_; and even in cases -where the construction of solid walls became necessary, these last are -but the internal and unseen scaffolding of the true and legitimate -representatives of division, that is to say, of drapery richly varied -with ornamental work, interlacings, and colours. - -The difference which exists between the ostensible and principal -separation, and the constructed separation, is expressed in ancient and -modern languages by terms more or less significative. - -In the Latin tongue, a distinction is made between _paries_ and _murus_. - -The Germans, in the word _wand_ (of the same root with _gewand_, which -means texture) recal still more directly the ancient origin and type of -a wall. - -New inventions soon led to different methods of replacing the primitive -drapery, and every art was successively called in to contribute its part -to these innovations, which may have been brought about by various -reasons; such, for example, as the desire for longer endurance, for the -sake of cleanliness, economy, comfort, distinction, coolness, heat, &c. - -One of the most ancient and most general methods of replacing the use of -drapery or tapestry is the coat of stucco or of plaster, furnished by -the masons who built the walls. - -Another very ancient method of replacing the original tapestry is, that -of wooden panels, with which the wall was covered internally. That which -proves the antiquity of this custom is, that in several ancient -languages the expression which is only properly applicable to panels of -wood, serves indifferently to signify every kind of flat surface -(_table_) in wood, metal, ivory, or any other material. - -It is thus we must explain the Greek expression πιναξ, (in Latin -_tabula_) as a painting on wood, or also on marble, baked clay, &c. -Plates of burnt clay, thin but of large circumference, were equally -called “πινακες.” - -The style of mural painting at Pompeii is only to be understood by the -same ancient custom of covering and inlaying the walls which they -reproduced in appearance by divisions and painted draperies. See -Vitruvius, on this point, in the chapter on Plastering. Wiegmann has -erred in attributing the same system of ancient painting to purely -technic causes. - -The Ceramic art was, in its turn, called on as a means of replacing -drapery. It is certain that potter’s clay painted, and even glazed, -served, at a very remote period, as a covering for walls. It may even be -admitted, that the employment of the potter’s art on the surface of -walls, preceded the manufacture of burnt bricks, and that the invention -of burning bricks was the result of the custom cited above. - -The mural incrustations in baked clay were the precursors of brick -masonry; in the same manner as the Assyrian slabs may be considered to -be the forerunners of constructions in hewn stone. We shall return again -to this subject. - -Among the various methods of replacing the use of drapery, should be -also mentioned those furnished by metallurgic processes. Vestiges of -metallic coverings on walls have been found on the oldest existing -monuments; and the most ancient annals of mankind are filled with -recitals of buildings resplendent with gold and silver, bronze and tin -respectively. - -As an invention of relatively recent date, may be cited lastly, the use -of slabs of marble or stone, granite, alabaster, &c., notwithstanding -that we find traces of this custom, but as it were already effaced, on -the most ancient monuments of the earth. (_See farther on_). - -In all the cases we have named, _the character of the substitute -followed that of its original type_, and the painting and sculpture, or -rather the two united, on wood, plaster, burnt clay, metal, stone, or -ivory, was—and traditionally continued to be—an imitation, more or less -faithful, of the embroideries or variegated interlacings which -ornamented the antique wall-coverings. - -It may be asserted that the entire system of decoration, with the art of -painting and sculpture in relief, up to the period of its highest -application, which is that of the tympanums of the pediments in the -Greek temples, proceeded from the manufactures of the Assyrian weavers -and dyers; or rather from their predecessors in human inventions. In any -case, it was the Assyrians—next to the Chinese—who appear to have -preserved most faithfully the antique type, even in its application to a -different material. We will enter a little more explicitly on this -subject. - - - THE ASSYRIANS. - -The ancient writers often mention and praise the Assyrian tissues for -the art employed in their manufacture; for the splendour and harmony of -their colours, and the richness of the fanciful compositions with which -they were embroidered. The mystical figures of bucentaurs, lions, -dragons, unicorns, and other monsters, which the authors describe, are -absolutely identical with those which we see on the bas-reliefs of -Nimroud and Khorsabad. But this identity was not in the subjects alone. -There is no doubt that the manner of treatment, the _style_ of these -subjects, was identical with that of the objects embroidered on the -tissues, which ancient authors have described. - -On examining somewhat attentively the Assyrian sculptures, it is easy to -satisfy oneself that the art of the Assyrian sculptor moved within -limits traceable from its origin, viz., embroidered work, allowance -being made for certain alterations of style, caused by the requirements -of a new material. - -One perceives in these Assyrian sculptures, the desire on the artist’s -part of an attention to the truth of Nature, but that he has been -hindered in his task, not—as with the Egyptians—by a regular -hieroglyphic system and hieratical laws, but rather by the caprices of a -method difficult, and indeed foreign to sculpture, the influence of -which was still strongly felt. Thus the sculpture of this people kept -itself within the bounds of a very low and flat relief, exactly similar -to that of some productions of Chinese woven work, seen in the Great -Exhibition of 1851, which possessed peculiar interest in the history of -Art, inasmuch as they exhibited the transition of the high woof into -polychromic bas-relief. - -The Assyrian figures, without being embalmed mummies like those of -Egypt, show, nevertheless, much stiffness and irregularity; they appear -as it were imprisoned and confined within an invisible canvas. Their -contours are, so to speak, tacked in with threads. One recognises in -them an awkwardness and hardness arising from the contest of the artist -with a material foreign to the style: whilst the Egyptian bas-reliefs -evince an original, canonical, and voluntary stiffness. I am tempted to -believe that all those slabs of alabaster from Assyria, with their -religious, warlike, and domestic scenes, are nothing more than exact -copies in stone, after originals in tissues, at that time celebrated and -executed by good native artists, who worked on that material only, -whilst they employed mere workmen to transfer the originals on to stone, -as well as the material would allow, which explains the difference -between the design and execution which these works betray. This same -character is also found on the Assyrian paintings. - -It is not to be doubted that the true tapestries were employed with -profusion, side by side with the stereotyped copies: and probably these -last were often covered with the originals, on the occasion of solemn -ceremonies, &c., and that they were only exposed during the intervals -between the _fêtes_, &c. We observe the same thing at this day in the -Catholic churches, where this ancient custom, with many others, is -strictly preserved. The inscriptions and their application in bands, -indicate the same origin. Does it not appear as if the cuneiform -characters were invented and designed for execution in needlework? In -fine, the simplicity of the system of paving of the rooms, otherwise so -richly ornamented, goes to prove that they were originally covered with -tapestry. It is only the slabs which form the cills of the doors on -which tapestry could not be placed, which indeed form an exception, -being ornamented with engraved work, in imitation of tapestry. (_See_ -Layard.) It is thus that these last became also the types of parquetry -work in mosaic. - -Up to the present point, we have only considered what relates to the -representations found on the Assyrian slabs. But these, in themselves, -give us still more cause for reflection, and singularly justify our -assertion of the importance, in an architectural point of view, of the -coverings of walls. - -The principle of panelling constructed work shows itself here in all its -primitive simplicity. We know that almost all the lower portions of -walls, within and without, were covered with thin slabs of alabaster or -basalt. The same principle under another form, obtained in the upper -portions of the walls; here, the walls of unbaked brick were inlaid with -glazed bricks; but the plan pursued by the Assyrians in executing this -incrustation differs greatly from that which we observe elsewhere, and -from what we pursue at the present day. - -The Assyrian bricks are only glazed on the external side, and the -ornaments and other subjects which were figured on them in the glazing, -bear no relation to the construction, so that the ornamental lines cross -the joints of the bricks irregularly. - -The enamel is very fusible and the bricks but slightly burnt, evidently -with the sole intention of fixing the glazing on them, which induces me -to conjecture, that the use of glazed pottery preceded and prepared the -way for that of baked bricks, and that the art of pottery was already -far advanced before the introduction of burnt brick work. Other -indications which would take too long to specify here, have proved to -me, that the bricks received their coating placed in a horizontal -position: First, they were ranged in the order which they would take -when in their place, they then traced the design formed on this -arrangement of unburnt bricks; next, they covered with these painted -bricks—observing still the same order—the interior of the room; and -lastly, they placed a fire in the room to fix the varnish which covered -the walls.[8] - -Footnote 8: - - The same method is to be found in some old buildings in Scotland. - -It results, from what I have observed, that the decoration of the wall -did not depend upon the construction of the same, even when baked and -glazed bricks were employed. - -The _constructive system_—after the manner of mosaic—_of decoration in -enamelled bricks is a later invention_, probably a Roman one. The -enamelled Assyrian bricks, should be regarded as a mural incrustation, -as a covering absolutely independent of the wall itself, and even of the -terra-cotta slab or tile, on which it was directly fixed. - - - THE PERSIANS. - -The Assyrian system of panelling the lower portions of their buildings -with slabs of alabaster, may be considered as the first step towards -construction in hewn stone, and towards the introduction of the “_coupe -de pierre_” into the number of architectural and ornamental elements. - -_It is only in the terraces, and the sub-basements of buildings, in the -primitive ages of art, that hewn stone and its construction appeared to -the eye._ These parts of the buildings were the mason’s oldest domain. - -The Persian monuments of Murgaub and Istakir, afford us the means of -observing the second step which decorative art made towards the -principle of construction. They were composed, like their models in -Assyria, of unbaked bricks, of which nothing remains, whilst however, -the direction of the walls is still indicated by marble pillars, which -originally served to strengthen the angles of the walls, and by the -jambs of doors and windows and by niches, with which the walls were -ornamented. - -All these parts were ornamented in the Assyrian manner, and testify to -the principles of which we have been speaking. But here we have no -longer slabs, but hewn masses of stone of enormous dimensions, -frequently monoliths. Nevertheless, in spite of their solidity, they -betray their type, in a most remarkable manner, inasmuch as they form a -kind of framework hollowed out internally to receive the mass of masonry -in unbaked brick, which they were designed to cover and to protect, and -which, in the interspaces of the pillars and jambs above-named, were -covered with slabs of marble, or more probably, with panels of -cypress-wood, covered in turn by plates of gold and silver, or it may be -also with richly embroidered stuffs. - - - THE EGYPTIANS. - -The theocratic system of the Egyptians, although its origin extends -beyond the horizon of history and even of tradition, is not the less -based on the ruins of a social state more ancient still, and much more -natural. The founders of this system, have altered the primitive style -of architectural decoration in petrifying it; that is to say, in making -it a style eminently adapted for stone constructions and monuments. - -But amidst the hieroglyphical symbols may still be recognised the traces -of its origin, obscure it is true, but unmistakeable. It has been -observed by travellers in Egypt, that Egyptian art bears quite a -different character in the sepulchral tombs, to that which is observed -on the great temples and palace temples of the kings. It is that in -these sepulchral chambers, art could move somewhat more freely than it -was permitted to do in those grand monumental edifices, which were -raised under the immediate influence of the priesthood. - -Now it has been proved that in all the tombs, the ancient method of -draping the walls, or rather of decorating them in the style of -tapestry, was apparent in its greatest simplicity. It is observable, -first in the character of the ornaments themselves, which consist of -interlacings and gracefully varied knots, whilst these decorations -borrowed from the weaver’s art, are almost banished from the temples and -are replaced by symbolic figures and ornament. It may be recognised, in -the second place, by the fact, that the paintings in the sepulchral -tombs are generally enclosed with borders, as if to indicate that they -represent suspended tapestry. - -Although this primitive type shows itself less positively in the -temples, indications are nevertheless not wanting which remind us of it. - -The contemporary artists of the French expedition have already -observed—and their discovery has been since then verified—that the -monuments of Egypt, including even those executed in granite, have been -covered with a complete coating of colour and varnish, over the _entire -surface_. That indeed might be expected, for the hewn stonework of the -Egyptian constructions, in spite of the neatness of its workmanship, is -not laid in regular courses, which tends to prove that this -irregularity, which contrasts with the symmetrical system of the -decoration on it, was hidden beneath a coating which covered the whole -mass. - -These monuments exhibit then the third transition step towards regular -construction in hewn stone. - -The construction, though massive and real, is always hidden, and does -not enter yet as an ornamental motive in the compositions of the -architect. - -It is worthy of observation, that one of the mouldings of Egyptian -architecture seems to be explained by the same ancient custom of -encrusting brick buildings with stone slabs, which we have remarked on -the Assyrian monuments. I allude to the torus moulding which encloses -the external walls of edifices. It served to hide the joints of the -slabs which covered the internal work. - -It is certain that the most ancient monuments in Egypt were constructed -in unbaked bricks, which must have been covered with stone slabs in the -manner above indicated. The Pyramids afford us very remarkable examples -of this system of panelling, which is found still perfect in the -sepulchral chambers contained in them, and the traces of which are still -visible on the exterior. The same observation applies to the Palace of -Osirtesen at Karnak, the walls of which are panelled with slabs of -polished red granite, bearing the traces of a transparent coating with -which they were covered. - - - THE CHINESE. - -China is a country where architecture has remained stationary from its -early birth, and, consequently, the elementary motives of it are most -distinctly preserved; they are placed side by side, without being -conjoined by a general ruling idea. The external surface of the wall is -still quite independent of the wall itself, and indeed is most -frequently movable. The wall bears its own burden alone, and has only in -view the filling up of the intervals between the wooden columns which -support the third elementary want, (_i. e._) the roof. The wall is only -a screen, more or less solidly executed than others, constructed in -slight brick work, covered externally with painted stucco decoration or -interlaced cane work, and internally with tapestry, or its substitute, -painted paper. The internal divisions are formed by screens of the same -description, and by drapery hung from the ceiling. The design of the -ornament, painted and carved upon them and throughout the building, is -founded on the same principle of interlacings and cane trellis-work, -more or less intricate, and hardly to be recognised through the oddities -of successive fashions. A polychromy, rich and brilliant, prevails, -which has not been considered with that attention which it deserves in -its relation with the ancient style of polychromy. - - - THE INDIANS. - -The monuments of Oriental India, bear the impress of a settled -civilisation, at least of the tertiary period. They are comparatively -modern in principle and in date; but they furnish us, nevertheless, with -very important hints on the history of polychromy. - -The frequent use of stucco, which is better made in India than anywhere -else, recals the system of the ancients, in covering their fine hewn -stonework with a very fine and hard incrustation of stucco. - -The Indian edifices constitute, as it were, but a scaffolding from which -to hang the drapery forming divisions of their spaces, as in China, and -as formerly in Assyria, Egypt, and Greece. - - - THE JEWS AND PHENICIANS. - -At present we have only mentioned existing examples; but the ancient -writings furnish us with other no less important matter. The description -of the celebrated Ark of Moses, and of the Tabernacle, taken with that -of the Temple of David, contains a complete history of polychromy. This -curious recital of Jewish antiquities presents us with a progressive -development of that elementary principle of architecture which I term -“the Enclosure.” - -The documents and chronicles of other nations furnish us with parallels -to what is contained in the holy writings. The Temple of the Slaves at -Mechlenburg, according to the description of Baron von Rumohr, on the -faith of ancient chroniclers; was constructed in the Oriental fashion, -and richly ornamented with tapestry and gilded wood work. - - - THE GREEKS. - -We now come to the Greeks. Hellenic art must have partaken of the -composite character which is manifested in Hellenism generally, and -which is so well expressed in the Grecian mythology. - -As the beautiful marble, which forms the cliffs and coasts of Greece, -notwithstanding its homogeneous transformation, betrays by veins, by -fossils, and other indications, its sedimentary origin, so Hellenism, -although it may appear homogeneous, and cast—so to speak—in one single -jet, betrays, nevertheless, its secondary origin, and the sediment which -constitutes its material groundwork. - -It would be important to follow up these vestiges of rudimentary -Hellenism, since they might enlighten us on certain phenomena in -Hellenic art, which have been up to the present time inexplicable -without them. - -This applies especially to the polychromy of Greek edifices. Much yet -remains to be done in this department of Art History, which has been -generally discussed either by learned men but no artists, or artists -with little learning. The vestiges of rudimentary Hellenism of which I -speak, wherever visible, present the same features that we meet with in -Assyria, Egypt, and China, and even among savage races; but it would -appear that the Greeks, prior to treating in their peculiar manner those -principles of art which they inherited, had partly forgotten their -origin and their material or hieratical meaning. Thus, only, could they -have had the mind free, and ready to commence them anew with an artistic -and poetical feeling. - -Exactly the same thing occurred in their mythology, which is only poetic -fiction based on traditions and fables, partly native, partly foreign, -the primitive meaning of which was no longer understood by the poets, -who formed them into the groundwork of their cosmogony. - -The system of Greek polychromy is the richest of all those of antiquity; -but it is, apparently, based neither on a principle of construction or -material as among the Assyrians, nor on a hierarchical principle as -among the Egyptians. The most striking oppositions of principle are -found united in it and harmonised, a more artistic and elevated, but -less positive conception. Nevertheless, this applies only to the -edifices of a period when art was in a state of high development among -them, since the ancient Doric system appears to have had much in common -with Egyptian art before it was penetrated by Ionian influence, which -depended rather on Asiatic traditions. - -I am convinced that the style of Doric polychromy was essentially -different to that of the Ionic, which was, notwithstanding, of equal -antiquity and originality. - -Doric polychromy was based on the Egyptian system, whilst that of Ionia -was based on Asiatic models. The first named was lapidary; the colours -were detached on a whitish or yellowish ground; there was no gilding, -and the use of blue was common, that being the holy colour of the -Egyptians (a turquoise blue), the symbolic colour of the priesthood and -aristocracy. - -The second was more primitive in its nature and recalled more directly -the elementary motive of _tapestry_ and _embroidery_. The ground was -generally of a rather deep colour, blue or red, even in the constructive -portions, such as the shafts of columns, architraves, &c., a good deal -of gilding and sea-green (prasinum) was used; the favourite colour of -the Assyrians, the symbolic colour of absolutism and of democracy. The -green is still now the holy colour of the successors of the Assyrians in -Asia. - -This difference of style, analogically observable in the music of these -two races, explains the divergent investigations made on the temples of -Sicily, and those of Athens. The monuments of Athens, Doric in their -general appearance partook, nevertheless, a good deal of the Ionic -character. The Ionic mind had penetrated Doric matter, and colour being -the least material was that which the Ionian sentiment most easily -mastered. - -It would be a difficult but very interesting task to unravel the -religious and political signification of certain colours in ancient -times. We know that red, blue, turquoise, and sea-green, were the four -colours by which the factions of the circus distinguished themselves. -These were not capriciously chosen, each faction having adopted that -colour, the symbolic and traditional meaning of which agreed with the -political principles professed by it. - -Traces of the antique system of covering construction with tables of -wood, plates of metal, or slabs of stone, representing tapestry-work, -may still be perceived in the Grecian monuments, for those parts of them -which were destined to be ornamented with historical paintings or -painted sculpture, are executed in the Assyrian fashion; as, for -example, the tympanums of the pediments, the metopes, the friezes, the -parts between the columns, and round the walls of the “cella.” It is -thus that Grecian monuments show us the fourth path which architecture -made towards stone style. - -The constructive parts of the building, that is to say, those parts -which constituted the entablature of the roof, and its supports, _the -columns_, were painted with the colour of the Greek vases, viz., a very -transparent and vaporous brown-red. The walls, inclusive of the -“_antæ_,” which formed only projecting parts of the walls, were of a -blue, which was broken by black and a little yellow, and not very dark. -This colour formed also the ground for most of the sculptures, except -the metopes, which I believe had red grounds. The red in the ornamented -mouldings was a very bright vermilion, differing from the red of the -ground by colour and treatment. - -The same is the case for the blue, which, in the ornamented mouldings, -is deeper than on the large surfaces, and tinted in different shades. -The _oves_, or eggs, for instance, were blue, with a darker blue tint -around. - -The green is a colour which occurs frequently on the Athenian temples, -so on the leaves on the moulding which runs under the frieze of the -opisthodome of the temple of Theseus, and between the red and blue -leaves of the capitals of the antæ. The same sea-green occurs on the -draperies of some sculptured figures. - -The enamels of wax were frequently covered with washes of thinner -colours. This has not been remarked by our restorers of antique -polychromy, but is nevertheless necessary for giving softness to the -general effect. - -The ornaments, as I have just observed, are placed in pieces and -soldered together; the solderings forming fillets slightly elevated from -the surface and of another colour. I cannot say whether in gold, black, -or even in some parts white. I have, for my own part, adopted the -hypothesis that it was gold in the Athenian temples, but not on those of -Sicily where a strict Doric character prevailed. - -I have not found many traces of colour on the Ionic temple of Minerva -Polias, and cannot say if the red, which I found on the columns of the -Northern Portico, belonged to the ancient colouring, or was of more -recent date. On the plate, in my work, which gives a panel of the temple -of Theseus, is seen the design of a row of pearls, with a double range -of disks. - -I can guarantee the exactitude of my observations, although this extreme -richness and smallness of detail in an object destined to be seen from a -distance may well astonish us. - -I have traced every mark on the stones themselves: and, moreover, -subjects of this kind are not capable of being invented; indeed it would -be a great compliment to suppose me capable of inventing these designs, -which I consider charming. - -In the portion which I have found in the wall with the niche (see my -work), these details are not to be seen. I have also discovered traces -of colour, very much effaced, on the small choragic Monument of -Lysicrates, which I have carefully examined. It appears that on the -ornament which surmounts the roof, there was a variety of blue and red, -and that the acanthus leaves were coloured green. The tripod was not -placed upon this ornament, but round it, the feet resting on the three -volutes which descend from the roof, analogously to the marble tripods -which are often met with in various museums of antiquities. - -I will not speak of the colours of the Parthenon, which are not so well -preserved as those on the Temple of Theseus, but the traces of ornament -which decorated that temple are seen by the incisions still remaining. -It would appear that the system of ornament there applied was similar to -that on the Temple of Theseus. - -Some years after my sojourn at Athens, portions of this building have -been excavated, with the colours very well preserved; as well as other -fragments of architecture which belong to the old Hecatompedon -(destroyed by the Persians) covered with painted stucco. - -I have not found very decided traces of the colours employed on the -Temple of Minerva Polias; the columns appear to have been red, as at the -Temple of Theseus. The ceiling of the Temple of the Caryatides had -painted frets and orvolos, which I have traced; but the colour was no -longer visible. Traces of painted ornaments are to be found also on the -Tower of the Winds. I have not been able to get a close view of them. - -As regards the sculptures, I have found some regularly encrusted with -colour. I have found green (prasinum) on the tunic of one of the seated -goddesses, on the frieze of the Temple of Theseus: another figure was -clad in a vestment of a deep rose colour. The Caryatides of the -Erectheum had blue tunics. We may see that, even on the one in the -British Museum. - -Mr. Bracebridge has described statues which were excavated in his -presence near the Parthenon with flesh tints and painted eyes. The -figures of the pediment of the Temple at Egina still retain traces of -the colours with which they were decorated. The same observation applies -to the metopes of the temple at Selinuntum, now at Palermo. Curious -fragments of painted architecture may also be seen at the museums of -Syracuse and Girgenti. - -The Romans painted their white marbles, like the Greeks. The three -columns of the Jupiter Stator in the Roman Forum are painted red on that -portion which has remained a long while buried. - -The Trajan Column, which I have examined, retains traces of colour and -gilding: the entire column had been once covered with a rather thick -coating of colour, in which I recognised green, blue, and yellow; but it -is probable that this last was the remains of the gilding. - - - BRADBURY AND EVANS, PRINTERS, WHITEFRIARS. - ------------------------------------------------------------------------- - - - - - TRANSCRIBER’S NOTES - - - 1. Silently corrected typographical errors and variations in spelling. - 2. Archaic, non-standard, and uncertain spellings retained as printed. - 3. Enclosed italics font in _underscores_. - - - - - -End of the Project Gutenberg EBook of An Apology for the Colouring of the -Greek Court in the Crystal Palace, by Owen Jones - -*** END OF THIS PROJECT GUTENBERG EBOOK COLOURING OF THE GREEK COURT *** - -***** This file should be named 63257-0.txt or 63257-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/3/2/5/63257/ - -Produced by Richard Tonsing, deaurider, and the Online -Distributed Proofreading Team at https://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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