,,an ,,apology ,,for ,,the ,,colouring ,,of ,,the ,,greek ,,court ,,in ,,the ,,crystal ,,palace4 ,,by ,,owen ,,jones4 ,illustration ,,crystal ,,palace ,,library2 ,,and ,,bradbury ,,evans1 #aa1 ,,bouverie ,,street1 ,,london4 #ahed4 ,,bradbury ,,and ,,evans1 ,,printers ,,to ,,the ,,crystal ,,palace ,,company1 ,,whitefriars4 ,,an ,,apology ,,for ,,the ,,colouring ,,of ,,the ,,greek ,,court4 ,,by ,,owen ,,jones4 ,,with ,,arguments ,,by ,g4 ,h4 ,,lewes ,,and ,w4 ,,watkiss ,,lloyd1 ,,an ,,extract ,,from ,,the ,,report ,,of ,,the ,,committee ,,appointed ,,to ,,examine ,,the ,,elgin ,,marbles ,,in #ahcf1 ,,from ,,the ,,transactions ,,of ,,the ,,royal ,,institute ,,of ,,british ,,architects1 ,,and ,a ,,fragment ,,on ,,the ,,origin ,,of ,,polychromy1 ,,by ,,professor ,,semper4 ,,an ,,apology ,,for ,,the ,,colouring ,,of ,,the ,,greek ,,court4 ,the coloured or colourless state of the monuments of the ,greeks1 and more particularly of their monumental sculpture1 has long been a subject of discussion in the world of art2 a discussion which1 although it may have been carried on with too much faith on the one side1 has certainly been accompanied1 on the other1 with too much prejudice4 ,at a very early stage in the arrangements for forming in the ,crystal ,palace a series of reproductions of architectural monuments1 ,i felt that to colour a ,greek monument would be one of the most interesting problems ,i could undertake2 not indeed in the hope that ,i might be able completely to solve it1 but that ,i might1 at least1 by the experiment remove the prejudices of many4 ,i felt persuaded that when we had a ,greek monument placed side by side with reproductions of other coloured monuments1 the authorities for which were indisputable1 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 them1 but that they also like the rest were coloured in every part1 and covered with a most elaborate system of ornamentation4 ,so early as the publication of the 8,antiquities of ,athens10 by ,stuart and ,revett1 the traces of ornaments on the mouldings of the ,greek temples were known and published by them1 some of the painted ornaments1 however1 which they found1 being engraved in their work as if in relief2 but artists were for long after unwilling to accept these fragments as evidence that an entire system of ornamentation prevailed on the ,greek buildings4 ,the late ,jules ,goury and ,professor ,semper1 from whom will be found a paper on ,polychromy in the ,appendix1 were amongst the earliest to direct attention to this subject2 but the most diligent labourer in the field is ,m4 ,hittorff1 of ,paris1 who has devoted many years to the production of a magnificent work1 in which will be found all the facts that are known1 and a history of the long discussion which this subject has provoked4 ,mr4 ,penrose also1 in his work on the 8,principles of ,athenian ,architecture10 has recorded all that he himself saw1 but is reluctant to believe that any ornaments existed where traces of ornament can no longer be found4 ,he feels that there is 8some slight ground of evidence that a peculiar yellow tinge upon some parts of the columns1 especially of the west front of the ,parthenon1 is not simply the yellow said to result from the oxidation of iron contained in ,pentelic marble1 but has been applied externally as a tint1 though perhaps so delicately as merely to reduce the high light of the marble without obscuring its crystalline character40 ,he considers it 8unreasonable to suppose that the ancients entirely concealed1 or even materially altered in appearance1 the general surface of the white marble1 which they made a great point of obtaining whenever possible2 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 surface1 and the more so when considerable portions of the architecture were painted in the most positive colours4 ,we need not suppose10 he says further1 8this tone to have produced more than the difference between fresh white marble and ivory40 ,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-- 8,to what extent were white marble temples painted and ornamented80 ,i would maintain that they were entirely so2 that neither the colour of the marble nor even its surface was preserved2 and that1 preparatory to the ornamenting and colouring of the surface1 the whole was covered with a thin coating of stucco1 something in the nature of a gilder's ground1 to stop the absorption of the colours by the marble4 ,the ,egyptians covered their buildings and statues in a similar way1 no matter what the material2 the ,greek temples1 which were built of lime-stone1 were so undoubtedly2 the ancient ,greek terra-cottas almost without exception have traces of this ground4 ,to the belief that the ,greeks employed it also on their marble temples1 there is only one stumbling-block--the artificial value which white marble has in our eyes4 ,the ,athenians built with marble because they found it almost beneath their feet1 and also from the same cause which led the ,egyptians to employ granite1 which was afterwards painted--viz41 because it was the most enduring1 and capable of receiving a higher finish of workmanship4 ,with these high thoughts of perfection and durability1 they not only built their temples of ,pentelic marble1 but paved their carriage-way to them with the same material4 ,the ruin of the ,parthenon1 as seen at this day on the ,acropolis1 with the rich tones which the sun of centuries has developed upon it1 is a very different thing from a bran-new white marble ,parthenon1 with many of its enrichments proved to have been picked out in the strongest colours4 ,such a building would have been horrible to behold under any sun1 much more under that of ,athens4 ,could we set aside the whole of the evidence to the contrary2 could we forget the paintings recorded on its cella walls--its interior filled with upwards of six hundred statues1 many of them of colossal dimensions1 enriched with painting1 ivory1 gold1 and precious stones1 which would demand a far different treatment of the building which contained them2 could we forget that when a marble statue left the hand of the first of sculptors1 it passed into the hands of an equally celebrated encaustic painter to receive its ultimate finish2#a could we forget the varieties of material which they combined1 certainly harmoniously1 in the statues of their gods--the varieties of colour which they gave to a material1 by us considered to be so uniform as bronze1 in which to heighten the expression they wished to obtain2 7by alloys of iron1 silver1 and gold1 used on the various portions of a figure1 the greatest known sculptors produced the paleness of death1--the blush of shame1--the smile on the mouth1--the fire of the eye1 and the healthy redness of the cheek27#b the ornaments of metal with which many of the marble statues were covered--earrings1 bracelets1 armlets1 sandals1 bands round the hair1 crowns1 diadems of pearls1 precious stones1 eyes of silver1 glass1 and precious stones2 the metal crown of the ,laocoon1 the metal casque of the statue of ,mars1 the metal drapery of the ,antinous1 the earrings of the ,venus de' ,medici1 or her golden hair2--could we set aside the evidence either of that which is recorded1 or of that which may still be seen1 we should yet have felt that it must have been so1 from the knowledge we have of the practice of those civilisations which preceded and followed that of the ,greeks4 ,how can one believe that at one particular period in the practice of the ,arts1 the artistic eye was so entirely changed that it became suddenly enamoured of white marble8 ,such an idea belongs only to an age like that through which we have just passed--an age equally devoid of the capacity to appreciate1 and of the power to execute1 works of art--when refuge is taken in whitewashing4 ,footnote #a3 ,see page #ca4 ,footnote #b3 ,see ,quatremre de ,quincey4 ,under this influence1 however1 we have been born and bred1 and it requires time to shake off the trammels which such early education leaves4 ,there is another theory which it is necessary to notice1 viz41 that the marble was not painted1 but stained in some way or other1 so as still to retain the transparency of the marble4 ,as this has never been tried1 and can only be tried on marble1 ,i dare not say that it would not produce an agreeable result4 ,i am not able1 however1 to conceive it1 and feel certain that it could not fulfil the required conditions of monumental sculpture1 though presenting more chance of success with isolated works4 ,as far as regards monumental sculpture1 the evidence of ,mr4 ,bracebridge1 which was produced before the committee of the ,institute1#c would appear to settle the point4 ,the fragments dug up at ,athens in the winter of #ahce-cf1 are stated by him to have been in perfect preservation1 and 8painted with the brightest red1 blue1 and yellow1 or rather1 vermilion1 ultramarine1 and straw colour1 which last may have faded in the earth40 ,he further states1 that 8the colours were laid on in thick coats40 ,footnote #c3 ,see page #dj4 ,,colouring ,,of ,,the ,,court4 ,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 imagination4 ,i most fully believe that the ,greek monuments were coloured and ornamented on a much higher key than ,i have ventured to attempt1 whilst the public eye requires preparation for receiving what there are as yet so few facts to substantiate4 ,the only portions of the colouring of this court for which there is absolute authority1 are the leaves on the moulding ,a1 and the enrichments on the pilaster-caps1 ,d1 which are thus published by ,mr4 ,penrose1 in his work4 ,traces exist of the enrichment ,b1 and the fret on the architrave band1 ,c1 of a stain indicating the form of the ornament1 but without traces of colour4 ,illustration ,the colouring of the moulding ,a1 which is known1 is alone sufficient for our purpose4 ,it establishes two broad principles for our guidance2 first1 that of the alternation of colour1 second1 that the colours were so employed as best to define the moulding they enriched4 ,specks of blue and red 7or1 as observed by others1 green and red7 have been found in several monuments on this moulding1 which from its form is more likely to have retained colour than any other4 ,the absolute value of these colours is of course not known2 hence the liberty of believing that they were only stains or tints1 not positive strong colours4 ,a glance at the experiment is sufficient to upset this theory at once2 the ornament1 with anything short of the strength of colour we have employed1 would have been invisible even at the height we see it1 much more so at the height the original was placed4 ,as the bed-mould ,b represents1 by the lines of the stain1 similar mouldings carved in relief in other monuments1 ,i felt ,i was safe in using the colours in such a way as best to represent the object it imitated4 ,i have therefore placed the gold where1 had the ornament been in relief and gold employed1 gold must have been placed to have been seen to the best advantage1 that is1 on the convex surfaces4 ,so of the other colours4 ,in colouring the fret ,c ,i have followed the same principle2 if they took the trouble to paint so minute an ornament at such a height1 we may be quite sure that they took every pains to make it as distinct as possible1 and1 therefore1 in using blue and red alternately1 ,i have endeavoured to make the lines of the fret more apparent4 ,i was led at once to adopt a blue ground for the frieze1 occupying1 as it does1 the place of the usual frieze of triglyphs and metopes in other monuments where the blue ground predominated2 ,i felt the ,greek eye would have demanded it here had such an arrangement as that of our frieze existed on a ,greek monument4 ,the red within the wreaths was necessary1 both for general harmony1 and also to prevent the eye passing through the wreaths1 which would have been the case had the blue ground been uninterrupted4 ,the soffit of the cornice ,i have coloured red1 because ,i have no doubt that wherever blue1 red1 and yellow or gold were used1 this must always have been the place of the red2 and ,i experienced great pleasure1 when in speaking on this subject with ,m4 ,hittorff of ,paris1 he brought forth a fragment of a soffit from ,selinus1 which1 as he held it in his hand1 showed a surface perfectly white1 but removing his hand from it1 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 covered4 ,illustration3 ,known4 ,illustration3 ,unknown4 ,the boldest step ,i have taken is in colouring the capitals of the columns2 the abacus ,e and the echinus ,f4 ,the echinus of the ,greek column is a moulding so perfect1 and so much refinement was used upon it by the ,greeks1 that few believe it was ever intended to be ornamented4 ,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 it1 and that all this would have been lost or disturbed by a painted ornament on the surface4 ,there are others1 however1 equally strong in the belief that it was painted and ornamented1 amongst whom ,m4 ,hittorff1 who1 in his work1 gives two illustrations from drawings of ,greek columns on vases1 one of which has an ornamental abacus1 and the other with the honeysuckle ornament on the echinus4 ,as all the ornaments on ,greek vases are analogous to those of ,greek temples1 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 buildings4 ,i am not alone in the belief that the echinus was ornamented with the egg-and-tongue ornament2 in fact1 the form of the moulding suggests this in preference to any other4 ,it certainly gives the best form for resolving the upward running-lines of the flutes4 ,as from all the examples we have1 the fret ornament is found universally on flat bands1 ,i have adopted it for the surface of the abacus1 and have chosen a fret which1 returning within itself1 prevents the eye from running outwards1 upwards1 or downwards1 which is generally the case with most frets4 ,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 moulding4 ,it is difficult to suppose that the capitals of the columns could appear unornamented side by side with pilaster-caps so elaborately enriched2 and we think it will freely be admitted that of the two1 the known ,greek pilaster-cap1 and that of my experimental column1 the latter is more quiet4 ,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 adopted4 ,for the general tone of the plain portions of the monument1 ,i have adopted a general tint of yellow1 but1 as ,i said before1 ,i believe that the ,greeks carried their ornamentation much beyond this4 ,i think the architrave was enriched with ornaments--certainly the soffits2 and in monuments like the ,parthenon1 ,i can come to no other conclusion but that the columns were gold4 ,in the flutes of the ,ionic columns of the ,erectheum red has been distinctly seen4 ,this can only have been the ground for gold2 the fillets which separate the flutes of the ,ionic column may then have been white1 but the flutes of the ,doric column presenting a sharp arris1 which could not receive colour to separate the colours of the flutes1 the columns must have had one uniform tint1 whatever it might have been1 and we can conceive no other worthy of such a building as the ,parthenon1 or able to support the decoration above1 but gold4 ,there is no authority for the gilding of the antefix1 nor for the gutt1 but their form suggests the only mode of treatment they could receive with effect4 ,,ceiling ,,under ,,the ,,gallery4--,,the ,,two ,,end ,,bays4 ,illustration3 ,portion of the ,ceiling1 showing what is known of the ,decoration4 ,illustration3 ,portion of the ,ceiling as ,painted4 ,the diagram at once explains what is known in this attempt of supplying the colours for a ,greek ceiling2 the colours however even of this are doubtful4 ,traces only of the stains are known1 and some of the ornaments have been supposed to be coloured in such a way as to destroy the very effect1 which a mere glance at the diagram will show was intended to be produced--viz41 to imitate1 or rather take the place of ornaments in relief4 ,the star in the centre of the coffer has traces of red upon it1 and has been published as a red star on a blue ground2 but ,mr4 ,penrose1 in his work1 makes it gold1 which is a much more probable arrangement4 ,illustration3 ,painted ,ornaments in the ,centres of the ,coffers of the ,ceiling of the ,propylaea1 ,athens1 as published by ,mr4 ,penrose4 ,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 beams2 the frets ,i have used in such a way as best to define the architectural lines of the ceiling4 ,those who are inclined to believe that wherever the ,greeks ornamented1 there traces of ornament are found1 and that consequently where no ornament is found none existed1 of course stop at the stage represented by the outline diagram1 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 varied4 ,till more is known all this must ever remain matter of opinion and subject to dispute4 ,this opinion1 however1 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 instrument2 and it is therefore concluded that this was the universal practice of the ,greeks1 and that1 where no engraved line exists there was no ornament4 ,i think this a very bold assumption4 ,it is evident that in such enduring ornaments as those of the ,greeks1 provision must have been made for repaintings2 and1 therefore1 on their moulded surfaces they took care to leave an enduring mark of the pattern1 more especially as these mouldings were in positions most difficult of access2 whilst on the broader surfaces this labour in the beginning would not be necessary1 as the ornaments may have been readily repainted without it4 ,in the three centre bays we have attempted a still higher key of colour4 ,the ornaments of the coffers are suggested by ,no4 #b1 from the coffers of the ,propylaea4 ,,mouldings ,,enclosing ,,the ,,panathenaic ,,frieze4 ,the enrichment ,a1 and the fret ,b and ,c1 are published by ,mr4 ,penrose2 ,a1 coloured exactly as ,i have shown it1 and ,b and ,c with the fret only in gold1 of which he imagines the pattern now on their surfaces may have been the trace4 ,illustration3 ,architrave ,band1 as published by ,mr4 ,penrose4 ,the principle of colouring on the moulding ,a helps to the colouring of the frets ,b and ,c1 which1 placed in the original #dj feet from the ground1 would have been invisible in gold alone or any other tint4 ,,the ,,panathenaic ,,frieze4 ,i have placed in the gallery behind the ,greek and ,roman ,courts1 casts from the ,elgin frieze of the ,british ,museum1#d for the express purpose of showing how it might possibly have been coloured4 ,footnote #d3 ,the casts obtained from the ,british ,museum were first fixed in their place2 the missing portions were then supplied1 by inserting casts of portions of the frieze found perfect in other parts of it4 ,thus1 when a head1 hand1 or foot was wanting1 a cast was taken of a head1 hand1 or foot1 where found perfect1 and then inserted4 ,so that this frieze1 although not an absolute reproduction of the original1 is as nearly as possible all ,greek4 ,this restoration was confided to ,mr4 ,raffaelle ,monti1 assisted by ,franz ,mitterlchner and ,andreas ,grass4 ,illustration ,that it was coloured in some manner or other there can be no manner of doubt1 and we think that any unprejudiced person who will examine the portion of the frieze in white at the end of gallery1 with the known painted ornament above and below it1 will at once admit this4 ,there are other considerations which would lead one to imagine it destined to receive colour1 even had no traces of colour been found on the architecture above and around it4 ,as there are still many who believe1 and will believe against all evidence1 that this frieze never was painted1 ,i must bring forward some arguments which appear to me so strong as to render the idea of its colourless state impossible4 ,this frieze in the ,parthenon is #dj feet from the ground to the centre of it1 and in the position ,a on the section 7p4 #ag71 whilst our experiment is only #af feet1 to the centre of the bas-relief3 to be seen at an angle of #de1 the eye of the spectator must have been at least #fj feet from it3 now only let the visitor stand at this distance from the portion of our cast that remains in white1 and he will see how little of the detail is visible to the eye4 ,illustration3 ,section showing the position of the ,panathenaic ,frieze4 ,let him place himself at the same distance from the portion of frieze which ,i have painted1 and he will see how visibly colour develops form4 ,how many thousands pass daily the ,athenum ,club in ,pall ,mall and are not conscious that there is above their heads a copy of this divine work of ,phidias2 if this were coloured 7as it ought to be7 who could pass by and escape it4 ,the frieze in the ,parthenon could not have been seen without colour as distinctly as the copy on the ,athenum ,club1 as it was under a portico1 and in shadow4 ,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 paint4 ,now people who argue thus have never understood what colour does when applied to form4 ,the very fact that colour has to be applied1 demands the highest finish in the form beneath4 ,by more visibly bringing out the form it makes all defects more prominent4 ,let any one compare the muscles of the figures in white1 with the muscles of those coloured1 and he will not hesitate an instant to admit this truth4 ,the labours of ,phidias1 had they never received colour1 would have been thrown away2 it was because he designed them to receive colour that such an elaboration of the surface was required4 ,my attempt is seen under every disadvantage2 it is too near the eye and too near the light2 and it is painted on a material which is most ungracious for the reception of colour4 ,the minute undulations of marble always lose something in a plaster reproduction1 but when the plaster has further to be painted with four coats of oil paint to stop the suction1 it may readily be imagined how much the more delicate modulations of the surface will suffer4 ,i have preferred1 however1 to put forth this experiment with all its disadvantages1 than attempt to soften the asperities by any artificial arrangement1 convinced that if it can find some favour in its present position1 it would gain immeasurably by being seen in a position analogous to that occupied by the original4 ,it will be seen further on that no traces of colour exist at the present time on these marbles4 ,they were moulded in ,athens prior to their removal to this country1 and whatever colour they may have then retained disappeared during the cleansing of the marbles by soap-lees1 after the process of moulding4 ,we are therefore driven to the remains of colour on other monuments1 and to analogy for the proposed restoration of the several colours4 ,,background4 ,the colour of the background of some of the pediments of the ,greek temples is known to have been blue1 and if we admit that the bodies of the figures were painted at all1 it could have been no other colours4 ,the flesh colour being necessarily some kind of red1 would have been injured by a red ground1 while yellow would have advanced to the eye1 and can form a background only to white1 the only colour more advancing than itself4 ,i believe1 and it is generally accepted as proven1 that the ground was blue2 and as there are many who stop here1 admitting the blue ground1 but denying the colouring of the figures1 a portion of the frieze has been left in this stage1 to enable them to form a judgment upon it4 ,,the ,,hair4 ,when ,i first attempted the experiment1 ,i had a strong instinct that the hair should be gold2 but not having the authority for it1 ,i was induced to try it both brown and grey2 neither of these colours1 however1 was satisfactory1 but having afterwards seen the collection of terra-cottas in the ,louvre1 ,i became convinced that ,i was right in supposing that they should be gold4 ,in all these specimens the hair is of an intense red1 which can only have been the ground of gilding1 now obliterated4 ,in the ,elgin frieze1 in the ,british ,museum1 may still be seen the holes which were drilled to fix on the metallic trappings1 which were also1 no doubt1 gilt2 and were these affixed in our experiment1 the effect would be much more harmonious4 ,,the ,,flesh4 ,the most difficult point to determine1 is the colour of the flesh4 ,it is evident that the ,greeks would avoid every attempt at representing nature4 ,whatever colours they used1 we may be sure that they were treated conventionally only1 so as to suggest the nature of the object represented1 yet not to attempt a direct imitation2 we must feel1 however1 that they went to the utmost limit of conventionality4 ,m4 ,hittorff has in his possession a fragment of a figure from ,selinus1 retaining a flesh colour very similar to that which we have employed4 ,although colour has been found on the hair1 eyes1 lips1 and drapery of ,greek fragments of marble1 no traces have as yet been found on the nude portions4 ,and those who believe that the marble of the ,greeks was only stained and not painted1 build up a triumphant argument on this4 ,the explanation1 however1 is very simple2 it is evident that the smooth portions of a coloured object would lose their colour first under the influence of time1 and1 in fact1 all traces of colour that ever are found1 are found in the folds and crevices1 from which it is fairly argued that the surface of which they formed a part was of that colour4 ,even in the ,alhambra1 which was entirely covered with colour1 and which is so many centuries nearer our time than the ,greek temples1 colour is but rarely found on the surface3 it is only by what is found in the depths and hollows1 that we know how the whole was coloured4 ,on the terra-cottas of the ,louvre there are figures where the white ground with which the whole surface of the terra-cottas was covered1 remains perfect over the whole of the figures1 at the same time that a fragment of flesh tint still remains upon some portion of it4 ,were this absent1 it might equally well be argued1 that the ,greeks were in the habit of painting the flesh white on their terra-cottas4 ,,horses4 ,in seeking a colour for the horses1 ,i felt the choice lay between red1 white1 black1 or grey2 further1 that whatever colour was employed1 it would be in such a way as best to define and distinguish the various portions of the groups4 ,i do not think that a single colour1 or shades of the same colour1 would have fulfilled this condition4 ,white horses would have been too prominent1 black too sombre4 ,the red ,i have employed appeared to be the best colour for the principal horses1 as best balancing by their masses the blue background1 whilst the relief between horse and horse could be harmoniously obtained by the employment of grey for the back horses4 ,authority for this mode of treatment exists on the ,greek vases and in the ,etruscan tombs1 where1 when one horse passes before another1 there is a change of colour4 ,as the horses in this frieze are in ranks of nine1 it is most probable that there was still more variety of colour than ,i have attempted1 to keep the various groups together4 ,,the ,,draperies4 ,i was led to adopt this mode of treating the draperies from the inspection of the ,louvre collection of terra-cottas1 where the draperies are very well preserved4 ,they are mostly pale blue and pale pink1 the pale blue with a pink border and the pink drapery with a blue border4 ,i have arranged the draperies in the way ,i felt most conducive to the general effect1 so as to bring the whole into harmony4 ,the colours of the other portions of the dresses are suggested by the materials which they may be presumed to represent4 ,in placing this experiment before the public1 ,i am quite aware how vain would be the hope that ,i had produced a result worthy of the ,greeks2 where there is so little to guide1 success is well nigh impossible4 ,the most that ,i could hope to attain was to produce a result that might have existed1 and that would not have been discordant with the other portions of a ,greek monument4 ,my failures even would answer a useful purpose1 if they served to direct other minds to work out this most interesting problem1 and to induce further researches on the monuments of ,greece1 which have hardly yet been examined in this direction1 because they have not as yet been examined with faith1 but rather with reluctance4 ,the experiment cannot be fairly tried till tried on marble1 and in conditions of space1 atmosphere1 c41 similar to those under which the originals were placed4 ,i would ask those critics who stand on the ground of traditional opinion1 not too rashly by hard words to attempt to stop the inquiry which this experiment may suggest4 ,the facts are too strong to be put aside by any opinion4 ,if all who are anxious for the truth will only seek it1 there is little doubt that we may approach1 if we do not reach it4 ,i have done all in my power to aid the cause4 ,i have stood in the breach1 and shall be content should others walk over me to a more complete victory4 ,i am only anxious1 in the meanwhile1 that the ,greeks should not be condemned on my account4 ,i have no authority whatever for the colouring of the monument of ,lysicrates in the ,great ,transept4 ,one fact deserves to be recorded1 the beautiful bas-reliefs of the frieze were absolutely invisible from below1 when in white1 and this made me certain that it was a monument designed to receive colour1 and ,i therefore determined to attempt its restoration4 ,,owen ,,jones4 ,,crystal ,,palace1 ,june1 #ahed4 ,,note ,,by ,,mr4 ,,penrose4 ,i have seen no reason to alter my opinion 7quoted p4 #f7 that the surface of the marble played a considerable part in the general effect1 and that it was not concealed with paint1 but tinged or stained in some manner to the proper tone4 ,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 indeed4 ,the distance also from the city is considerable3 whereas there are quarries on ,mount ,hymettus at little more than one-third of the distance 7and most convenient for carriage71 which furnish immense masses of dove-coloured marble 7much prized1 it would seem1 by the ,romans1 ,hor4 ii4 #ah71 and inferior in no respect but that of colour to the ,pentelic4 ,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 ,athenians4 ,with respect to the use of the outline traced with a sharp point 7p4 #af71 had this been a provision for repaintings1 its absence from the ,doric echinus is at least conclusive that there was no ornament painted on that member2 for on no part of the architecture would the difficulty of reproducing the pattern have been greater4 ,but since these outlines are found indifferently both on small and large mouldings1 it seems to be a sound conclusion which limits the painted ornaments to the parts so outlined4 ,,reply4 ,i do not think that1 with our present ideas of economy1 we are able to appreciate the motives of the ,athenians in choosing their marble from the ,pentelic quarries in preference to those of ,mount ,hymettus4 ,we must remember that the ,greeks built for their gods2 and the ,pentelic marble1 by presenting greater difficulties in its acquisition may have been a more precious offering4 ,i can more easily understand this than the use of granite by the ,egyptians1 which was sought for from quarries much more distant1 and presented difficulties of workmanship many times greater4 ,mr4 ,penrose has examined most minutely the capitals of the columns of the ,parthenon1 and is convinced that no outline of any kind exists upon them2 but ,i am not so convinced that there never was one there1 because1 although outlines are found on fragments of some of the mouldings1 they do not exist everywhere on the same moulding3 it is only under favourable circumstances that the outline has been preserved4 ,a ,doric echinus may yet be found with outlines upon it4 ,,owen ,,jones4 ,,historical ,,evidence4 ,,note4 ,i have been favoured by ,mr4 ,g4 ,h4 ,lewes with the following arguments derived from a perusal of ,quatremre de ,quincey1 ,winckelmann1 and the passages of ancient authors which are supposed to throw light on this question2 these ,i have submitted to a well known authority on ,greek literature1 ,mr4 ,w4 ,watkiss ,lloyd1 and place here his observations on the argument of ,mr4 ,lewes1 as ,i am most anxious that the public should be in possession of whatever can be said on either side4 ,,historical ,,evidence4 ,the idea of the ,greeks having painted their statues is so repugnant to all our modern prejudgments1 that the mind is slow in familiarising itself with the fact1 even when indisputable evidence is brought forward4 ,the ,greeks were artists of such exquisite taste1 and of principles so severe1 that to accuse them of having painted statues1 is to accuse them of committing what in our day is regarded as pure 8barbarism40 ,the ,greeks did not aim at reality1 but at ideality2 and the painting of statues is thought to be only an attempt to imitate reality4 ,nevertheless1 however startling1 the fact remains3 the ,greeks did paint their statues4 ,living eyes have seen the paint4 ,living testimony supports the testimony of ancient writers1 and all that will be necessary in these pages is to furnish some of the principal points of evidence4 ,in the first place1 the reader must get out of all sculpture galleries1 erase from his mind all preconceptions derived from antique remains and modern practices4 ,having done so1 let him reflect on the historical development of sculpture1 and he will see this idea of painted figures falling in its true place4 ,sculpture of course began in ,greece1 as elsewhere1 with idols4 ,it is the custom of all barbarous nations to colour their idols4 ,the ,egyptians1 as we know beyond all doubt1 not only coloured1 but dressed theirs4 ,so did the ,greeks4 ,it may be a question1 whether the ,greeks borrowed their art from the ,egyptians1 improving it1 as they did everything else4 ,let scholars decide that question4 ,this1 however1 is certain1 that in either case the ,egyptian practice would obtain-- #ast4 ,if the ,greeks borrowed from the ,egyptians1 they would borrow the painting and dressing4 #bnd4 ,if they did not borrow--if their art was indigenous--then it would come under the universal law of barbarian art2 and painting would1 at any rate in the earlier epochs1 have been employed4 7,we know that both painting and dressing were employed in all epochs47 ,this being so1 and the custom being universal1 unless the change from painted to unpainted statues had been very gradual1 insensibly so1 the man who first produced a marble statue without any addition would have been celebrated as an innovator4 ,no such celebrity is known4 ,ancient literature abounds with references and allusions to the practices of painting and dressing statues4 ,space prevents their being copiously cited here4 ,moreover1 many of them are too vague for direct evidence4 ,of those which are unequivocal a few will be given4 ,dressing ,statues4--,pausanias describes a nympheum1 where the women assembled to worship1 containing figures of ,bacchus1 ,ceres1 and ,proserpine1 the heads of which alone were visible1 the rest of the body being hidden by draperies4 ,and this explains a passage in ,tertullian 78,de ,jejun410 #af71 where he compares the goddesses to rich ladies having their attendants specially devoted to dress them--suas habebant ornatrices4 ,for it must be borne in mind that the ,greek idols1 like the saints in ,catholic cathedrals1 were kept dressed and ornamented with religious care4 ,hence ,homer frequently alludes to the offerings of garments made to propitiate a goddess2 thus1 to cite but one1 ,hector tells ,hecuba to choose the most splendid peplos to offer to ,minerva for her aid and favour4 ,dionysius1 the ,tyrant of ,syracuse1 according to a well known anecdote1 stripped the ,jupiter of his golden cloak1 mockingly declaring that it was too heavy for summer1 and too cold for winter4 8,the golden cloak of the ,sicilian ,jupiter seems scarcely to illustrate the subject of dressing statues--as it was probably not drapery1 not cloth enriched with gold--but solid1 like the golden gis of the ,minerva of ,phidias1 which could be removed and replaced40--,w4 ,w4 ,,lloyd4 ,these dressed statues were for the most part dolls1 however large4 ,the reader must remember that the dolls of his nursery are the lineal descendants of ancient idols4 ,each house had its lares or household gods2 each house had its dressed idols4 ,statues1 in our sense of the word1 were1 it may be supposed1 not dressed2 but that they were painted and ornamented there seems to be ample evidence4 ,coloured ,statues4--,if we had no other evidence than is afforded in the great variety of materials employed--ivory1 gold1 ebony1 silver1 brass1 bronze1 amber1 lead1 iron1 cedar1 pear-tree1 c41 it would suffice to indicate that the prejudice about 8purity of marble0 is a prejudice4 ,the critic may declare that a severe taste repudiates all colour1 all mingling of materials2 but the ,greek sculptors addressed the senses and tastes of the ,greek nation1 and did so with a view to religious effect1 just as in ,catholic cathedrals painted windows1 pictures1 and jewelled madonnas appeal to the senses of the populace4 ,the ,greeks made statues of ivory and gold combined4 ,they also combined various metals with a view of producing the effect of colour4 ,one example will suffice here4 ,pliny tells us 7lib4 xxxiv4 cap4 #ad7 that the sculptor of the statue of ,athamas1 wishing to represent the blush of shame succeeding his murder of his son1 made the head of a metal composed of copper and iron1 the dissolution of the ferruginous material giving the surface a red glow--ut rubigine ejus per nitorem ris relucente1 exprimeretur verecundi rubor4 ,twenty analogous examples of various metals employed for colouring purposes might be cited4 ,quatremre de ,quincey1 in his great work1 8,le ,jupiter ,olympien10 has collected many4 ,the reader may1 however1 admit that statues were made of various materials1 and that the bronze statues--which were incomparably more numerous than the marble1 may have been tinted1 but still feel disinclined to believe that the marble statues were ever painted4 ,a few decisive passages shall be adduced4 ,let it be remembered that ,socrates was the son of a sculptor1 and that ,plato lived in ,athens1 acquainted with the great sculptors and their works2 then read this passage1 wherein ,socrates employs1 by way of simile1 the practice of painting statues3 8,just as if1 when painting statues1 a person should blame us for not placing the most beautiful colours on the most beautiful parts of the figure--inasmuch as the eyes1 the most beautiful parts1 were not painted purple1 but black--we should answer him by saying1 ,clever fellow1 do not suppose we are to paint eyes so beautifully that they should not appear to be eyes40 7,plato1 8,de ,repub40 lib4 iv41 near the beginning47 ,this passage would long ago have settled the question1 had not the moderns been pre-occupied with the belief that the ,greeks did not paint their statues4 ,they1 therefore1 read the passage in another sense2 many translators read 8pictures0 for 8statues40 ,but the ,greek word signifies 8statue10 and is never used to signify 8picture40 ,it means statue1 and a statuary is called the maker of such statues1 4 7,mr4 ,davis1 in ,bohn's ,english edition of ,plato1 avoids the difficulty by translating it 8human figures407 8,this passage is decisive as far as it goes1 but it does not touch the question of colouring the flesh4 ,it proves that as late as ,plato's time it was usual to apply colour to the eyes of statues2 and assuming1 what is not stated1 that marble statues are in question1 we are brought to the same point as by the ginetan marbles1 of which the eyes1 lips1 portions of the armour and draperies were found coloured4 ,i forget whether the hair was found to be coloured1 but the absence of traces of colour on the flesh1 while they were abundant elsewhere1 indicates that if coloured at all it must have been by a different and more perishable process--by a tint1 or stain1 or varnish4 ,the ginetan statues being archaic1 do not give an absolute rule for those of ,phidias4 ,the archaic ,athenian bas-relief of a warrior in excellent preservation1 shows vivid colours on drapery and ornaments of armour1 and the eye-balls were also coloured2 but again1 there is no trace of colour on the flesh40--,w4 ,w4 ,,lloyd4 ,here is a passage which not only establishes the sense of the one in ,plato1 but while unequivocally declaring that the ancients painted their statues gives the reason why the paint is so seldom discoverable in the antique remains4 ,it is from ,plutarch 78,qust4 ,roman40 xcviii41 at the end73 8,it is necessary to be very careful of statues1 otherwise the vermilion with which the ancient statues were coloured will quickly disappear40 8,this passage refers to archaic sacred figures1 and at ,rome 7not in ,greece71 where after providing for the sacred geese and ganders1 the first duty of certain officials on taking office was to furbish the agalma1 or statue1 which was necessary on #8account of the quick fading of the vermilion with which they used to tinge the archaic statues4' ,this is an accurate translation and a literal--and implies a difference between the archaic and the more modern in respect of colour1 though not necessarily excluding all colour from the latter40--,w4 ,w4 ,,lloyd4 ,had this passage been generally known the dispute could never have maintained itself4 ,there is nothing equivocal in the use of the word 1 which means 8vermilion20 nothing which admits of doubt in the phrase 4 ,and there are abundant notices extant which illustrate it4 ,one will suffice4 ,the celebrated marble statue of a ,bacchante by ,scopas is described as holding1 in lieu of the ,thyrsus1 a dead roebuck which is cut open1 and the marble represents living flesh4 ,people have tried to explain this by saying that ,scopas discovered coloured veins in the marble1 which he used to indicate living flesh4 ,the explanation is absurd4 ,in the first place veins do not so run in marble as to represent flesh2 in the second1 unless statues were usually coloured1 such veins1 if they existed1 would be regarded as terrible blemishes1 and the very thing the ,greeks are supposed to have avoided--viz41 colour as representing reality--would have been shown4 ,but colour was used1 as we know1 and ,pausanias 78,arcad40 lib4 viii41 cap4 #ci7 describes a statue of ,bacchus as having all those portions not hidden by draperies1 painted vermilion1 the body being of gilded wood4 ,he also distinctly says that the statues made of gypsum were painted1 describing a statue of ,bacchus 1 which was--the language is explicit--8ornamented with paint0 4 8,this statue was apparently ithyphallic1 and probably archaic4 ,not drapery1 but ivy and laurel1 concealed the lower part of it4 ,the colour of the exposed part was not local1 but applied to the whole of it40--,w4 ,w4 ,,lloyd4 ,virgil1 in an epigram1 not only offers ,venus a marble statue of ,amor1 the wings of which shall be many-coloured and the quiver painted1 but he intimates that this shall be so because it is customary-- ,marmoreusque tibi1 ,dea1 versicoloribus alis ,in morem pict stabit ,amor pharetr4 ,and in the seventh ,eclogue1 ,virgil1 speaking of the statue of ,diana1 describes it as of marble with scarlet sandals bound round the leg as high as the calf4 ,si proprium hoc fuerit1 levi de marmore tota ,puniceo stabis suras evincta cothurno4 ,and there is a passage in ,pliny which is decisive1 as soon as we understand the allusion4 ,speaking of ,nicias 7lib4 xxxv4 cap4 #aa71 he says1 that ,praxiteles1 when asked which of his marble works best satisfied him1 replied1 8,those which ,nicias has had under his hands40 8,so much10 adds ,pliny1 8did he prize the finishing of ,nicias0--tantum circumlitioni ejus tribuebat4 ,the meaning of this passage hangs on the word circumlitio4 ,winckelmann follows the mass of commentators in understanding this as referring to some mode of polishing the statues2 but ,quatremre de ,quincey1 in his magnificent work 8,le ,jupiter ,olympien10 satisfactorily shows this to be untenable1 not only because no sculptor could think of preferring such of his statues as had been better polished1 but also because ,nicias being a painter1 not a sculptor1 his services must have been those of a painter4 ,what were they8 ,nicias was an encaustic painter1 and hence it seems clear that his circumlitio--his mode of finishing the statues1 so highly prized by ,praxiteles--must have been the application of encaustic painting to those parts which the sculptor wished to have ornamented4 ,for it is quite idle to suppose a sculptor like ,praxiteles would allow another sculptor to finish his works4 ,the rough work may be done by other hands1 but the finishing is always left to the artist4 ,the statue completed1 there still remained the painter's art to be employed1 and for that ,nicias was renowned4 ,even ,winckelmann 78,geschichte der ,kunst10 buch ,i4 kap4 #b71 after noting how the ancients were accustomed to dress their statues1 adds1 8,this gave rise to the painting of those parts of the marble statues which represented the clothes1 as may be seen in the ,diana found at ,herculanum in #agfj4 ,the hair is blonde2 the draperies white1 with a triple border1 one of gold1 the other of purple1 with festoons of flowers1 the third plain purple40 ,there are still traces visible of gilding in the hair of statues4 ,even the ,venus de' ,medici has such4 ,and the bored ears speak plainly of earrings4 ,while the testimony of antiquity is thus explicit1 there is the still more convincing testimony of living eyes1 which have seen this painting on statues4 ,the celebrated ,swedish traveller1 ,akerblad1 says1 8,i am convinced that the practice of colouring marble statues and buildings was much more frequent than is supposed4 ,the second time ,i visited ,athens1 ,i had opportunity of narrowly inspecting the frieze of the ,temple of ,theseus1 and ,i came away convinced it had been painted40 ,quatremre de ,quincey mentions statues he has seen1 and refers especially to the ,apollo in the ,louvre1 made of ,pentelic marble1 almost all over the naked surfaces of which a trace of red was faintly perceptible4 ,the same with a ,diana at ,versailles2 but he adds1 8these traces grow daily fainter40 ,the eyes and mouth of the colossal ,pallas de ,velletri still retain the violet colour4 ,such are a few of the evidences4 ,on examining them1 we find them not only unequivocal in themselves1 but complementary of each other4 ,living testimony1 supposing it to be accepted without demur1 would not suffice to settle the question of what was the ancient practice2 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 taste4 ,but when it is seen1 by the testimony of ancient writers1 such as ,plato1 ,pliny1 ,plutarch1 and ,virgil1 that the ,greek artists did colour their statues1 the fact of the statues being discovered with traces of colour is explained1 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 writers4 ,g4 ,h4 ,,lewes4 8,as regards archaic sculpture in ,greece1 we may be considered to have decisive proof from ,pausanias and others1 that the ancient sacred figures1 that were rather venerated as idols than admired for art1 were often entirely coloured--flesh and drapery with vermilion1 perhaps conventionally and rudely enough1 as we find on the archaic vases1 the flesh of women painted white1 and that of men black4 ,the marble statues of gina1 and others1 that are works of truly fine art1 offer a second form of the application of colour4 ,here the eyes1 lips1 draperies1 ornaments1 and details of arms1 have their true local colour1 but the monuments themselves only give us the negative evidence with respect to the flesh1 that if coloured at all1 it must have been less solidly4 ,unless it were tinged or stained1 it is difficult to understand how the effect of the coloured part could have been otherwise than very disagreeable--spotty1 patchy1 crude1 ghastly to the last degree2 but the experiment might be tried4 ,on the other hand1 it is most certain that in the chryselephantine statues1 the ,minerva of the ,parthenon1 the ,jupiter ,olympian1 the ,juno of ,argos1 by ,phidias1 and by ,polycletus1 the greatest variety of colour was applied throughout--or rather variety of colour was given by the different materials of which these figures were composed1 ivory1 gold1 various coloured woods1 stones and gems4 ,but painting or staining in the proper sense of the words1 was certainly applied to some portions2 as1 for instance1 ,pausanias states that the robe of ,jupiter had lilies painted on it4 ,the application of colour to the details of the architecture at least1 and to portions of the architectonic sculpture1 would be absolutely required1 to harmonise them with the chief object in the temple itself4 ,lastly1 as to the flesh of marble statues of the best age1 no rule can be deduced for this from any practice that obtained in primitive times1 or from chryselephantine works1 which seem to have been in designed contrast in the whole of their treatment4 ,the argument for colour on marble flesh of the best age1 from existing remains1 so far as ,i am aware1 is equal to zero4 ,but the passage respecting ,nicias and ,polycletus1 is of very great force4 ,there is no escape from its application to marble statues1 nor from the great skill that there was occasion and scope for in the circumlitio4 ,whatever this tinging or colouring may have been1 we may be sure that it was so employed as to heighten the purest effects4 ,the edge and sharpness1 and smoothness and brilliancy1 of the material1 cannot have been destroyed by it2 rather sobered it may be1 but still enhanced4 ,doubtless it aided the peculiar glories of sculpture1 the display of forms1 by rendering them more visible--idealised rather than imitated nature1 and treated every part under the law of regard to the supreme intention and sentiment of the whole4 ,the same remarks 7such as they are7 apply to bas-reliefs1 which1 however1 have difficulties of their own4 ,vitruvius 7vii4 #i71 after describing the preparation of minium or vermilion1 goes on to speak of its liability to change colour from the action of direct sunlight1 and gives instructions for protecting it2 he does not mention the medium employed with the colour1 but as it is insoluble1 we must assume the use of size1 as in other instances1 or gum1 c4 ,the wall he is thinking of is apparently stucco4 #8,when the wall is painted with vermilion and dry1 lay on with a brush 7of bristles1 a hard or rough brush71 ,punic wax melted over the fire1 and a little tempered with oil2 then by means of hot coals in an iron vessel1 warm the wall well and make the wax run1 and equalize itself2 afterwards rub it with a wax candle and clean cloths1 as nude marble figures are treated4' ,pliny 7xxi4 #ad7 gives the preparation of ,punic wax by a process of which the chemical result1 according to ,dr4 ,turner1 was a soap of twenty parts wax to one of soda4 ,he also 7xxxiii4 #g7 describes the same process as ,vitruvius above1 apparently copying him or a common authority4 ,the wax1 he says1 is applied hot1 heated with coals 7admotis gall carbonibus1 whatever they may be71 and then rubbed with wax candles1 and afterwards with clean linen cloths1 as marbles also become bright 7or shiny71 7sicut et marmora nitescunt74 ,now how much of the treatment thus expressed applies to sculpture8 ,putting the case most strongly1 it might be said1--the whole1 and that nothing less than the whole1 will accord with the circumlitio of statues mentioned elsewhere1 and by applying the whole we might connect these notices with those of ,plutarch and ,pausanias of the employment of vermilion in colouring statues1 though these latter go for very little as applicable to the best works of the best time4 ,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 heated4 ,the treatment of statues is referred by ,vitruvius specially to the nude2 it seems1 therefore1 to have had connection with a design to assist or heighten the effect of the sculptured nude flesh1 as distinguished from drapery1 c4 ,this would be natural enough1 though no colours were employed1 or not for every part1 but if they were we must suppose that ,vitruvius has vermilion in his mind leading him to limit his observation4 ,pliny's expression shows that even assuming colour there is no opaqueness in question4 ,if a verdict were to be given on this evidence as it stands1 ,i am much disposed to think that it must be in favour of a tinge of vermilion1 protected by a brilliant varnish1 having been applied to the nude portions of 78 some7 marble statues in such a manner that both colour and varnish assisted the fine surface and brilliant effect of the lucent marble4 ,so much for this part of the evidence and its bearing on a final decision40--,w4 ,w4 ,,lloyd4 ,,material ,,evidence4 ,in #ahcf a committee was appointed by the ,royal ,institute of ,british ,architects1 to examine the ,elgin ,marbles in the ,british ,museum1 in order to ascertain whether any evidences remained as to the employment of colour in the decoration of the architecture or sculpture4#e ,footnote #e3 ,extracted from the report of the committee1 published in the ,transactions of the ,royal ,institute of ,british ,artists1 ,vol4 ,i4 ,part ,,ii4 #ahdb4 ,this committee consisted of ,mr4 ,hamilton1 ,sir ,richard ,westmacott1 ,sir ,charles ,l4 ,eastlake1 ,r4,a41 ,mr4 ,cockerell1 ,r4,a41 ,dr4 ,faraday1 and ,messrs4 ,angell1 ,donaldson1 and ,scoles4 ,the committee found on several architectural fragments from the ,erectheum and the ,propylaea of ,athens1 traces of ornaments which had been engraved with a tool on the surface of the marble1 and also verified a difference of texture in the parts occupied by the coloured surface from the ground1 but were unable to decide 8whether the parts now smooth and rough were originally in that state1 or whether the part now rough has become so in consequence of the action of the atmosphere upon it1 the smooth part having been protected from that action by gilding or colour40 ,no traces of colour were discovered on any of the figures of the bas-reliefs1 metopes1 or sculptures of the pediments1 but it was stated to the committee by ,mr4 ,sarti1 the modeller1 who was engaged in taking moulds of the whole series of the ,elgin ,marbles belonging to the ,parthenon1 8that the whole surface of the marbles had been twice washed over with soap leys1 subsequently to their having been moulded on former occasions1 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 mould2 ,dr4 ,faraday was of opinion that this circumstance was of itself sufficient to have removed every vestige of colour1 which might have existed originally on the surface of the marble40 ,a letter was read to the committee1 from ,mr4 ,bracebridge1 8forwarding a memorandum of colours and patterns from the ,erectheum2 they are drawn from the northern portico of that conjoint temple of ,minerva ,polias1 ,pandrosus1 and ,erectheus1 so well known in the ,acropolis4 ,this side of the temple1 being so well sheltered from the sea breeze1 has preserved its sculptured ornaments as fresh and sharp as if lately finished2 and the columns of this portico1 being fluted with capitals elaborately worked and well sheltered1 have retained remains of colour4 ,at the top of the flutings especially1 a thin coat of slate-coloured paint is visible1 at other points yellow and red colour may be traced2 but the remaining pieces are so small and the colours so much faded1 as to leave the subject in dispute2 this being alone certain that there was once colour carefully applied 7at all events1 to the entaglio parts of the relief or concave parts of the capitals1 c471 and that this colour was of various shades2 the protuberant part of the work retains no colour4 ,the probability that blue1 red1 and yellow were used is very strong40 ,mr4 ,bracebridge further states1 that 8in the winter of #ahce-f1 an excavation was made to the depth of twenty-five feet1 at the south-east angle of the ,parthenon2 here remains were found of huge blocks of marble fresh from the quarries1 chippings1 c4 c42 and below these1 fragments of vessels1 pottery1 and burnt wood4 ,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 marble1 in fact the level of the old ,hecatompedon1 of which possibly the burnt wood may have been the remains4 8,here were found many pieces of marble1 and among these fragments parts of triglyphs1 of fluted columns1 and of statues1 particularly a female head 7the hair is nearly the costume of the present day74 8,these three last-mentioned fragments were painted with the brightest red1 blue1 and yellow1 or rather vermilion1 ultramarine1 and straw colour1 which last may have faded in the earth4 8,these curious specimens are carefully preserved in the ,acropolis1 but much fear is entertained of their retaining the brightness of their highly contrasted colours for any length of time4 ,the colours are laid on in thick coats4 ,the female face had the eyes and eyebrows painted4 ,when we consider the brilliancy of ,pentelic marble when fresh worked1 there appears a reason for using colours beyond that of imitating the usages of ,attica1 in more ancient temples1 namely1 that the minuti of the work in many parts would have been lost to the eye amidst the general brilliancy40 ,the committee finally concluded that 8,upon a consideration of all the facts in the preceding minutes1 it appears to the committee1 that there remain no indications of colour artificially applied upon the surface of the statues and bas-reliefs1 that is upon the historical sculpture4 ,that1 according to ,dr4 ,faraday's opinion1 those portions of the marbles1 which1 from the tone and surface might be supposed to be the result of colour applied thereon1 are the original surface of the marble1 stained by the atmosphere1 the presence of iron in the marble1 or by some such natural cause4 ,that some of the architectural fragments present indisputable traces of tone1 indicative of regular architectural ornaments1 and the outlines of such ornaments are distinctly traceable1 being marked with a sharp instrument on the surface of the marble4 8,the committee cannot positively state1 from the appearance of the marble1 that such tones have been produced by colour1 as they think that none of the colour itself remains1 but that the indication of tone results from the mere variation of surface4 ,judging1 however1 from the information contained in ,mr4 ,bracebridge's communication1 there appears no reason to doubt that colour has been applied4 ,this is confirmed by the portions of coatings brought from ,athens by ,mr4 ,donaldson1 and analysed by ,dr4 ,faraday1 who has detected frit1 or vitreous substance1 and carbonate of copper1 mixed with wax1 and a fragrant gum4 ,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 taken1 were covered with a coloured coating4 ,the glass eyes also of the ,ionic capitals of the tetrastyle portico of the ,acropolis1 at ,athens1 prove1 that various materials were employed by the ,athenians in the decoration of the exterior of their marble buildings4 8,but although the statues and bas-reliefs of the ,parthenon1 at least those portions of them preserved in the ,elgin ,collection1 do not afford any evidence of the use of colour1 yet there is a constant repetition of small circular holes in the horses' heads and manes1 and in one hand of each rider1 showing that there had been originally bridles and straps to the horses1 either of metal1 leather1 or some other similar substance4 ,similar holes are perceptible in the statue1 ,no4 #id 7in red71 of ,proserpine1 one of the two female figures of the eastern tympanum of the ,parthenon1 called also the ,seasons or the ,hours2 they are in the arm1 just above the wrist1 apparently for the purpose of attaching bracelets1 and in the shoulders at the junction of the drapery1 as though a metal rosette had been affixed there4 ,on the neck of one of the ,fates1 ,no4 #ig 7in red71 are also two holes1 which seem to have been for a necklace4 ,in the back of the torso of ,victory1 ,no4 #if 7in red71 are large holes1 in which it is supposed bronze wings were fastened4 ,no4 #aja 7in red7 is a fragment of the upper part of the head#f of ,minerva2 the sockets of the eyes are hollow1 and were evidently filled with metal or with coloured stones1 and holes remain in the upper part of the head1 affording a presumption that there was originally a bronze helmet attached to the marble4 ,the angles of the gis of ,no4 #ajb 7in red71 which is a fragment of the statue of ,minerva1 one of the principal figures of the western pediment1 are drilled with holes1 by which the metallic serpents were attached1 and in the centre a head of the ,gorgon40 ,footnote #f3 8,this fragment alone may perhaps be considered as an exception to the previous statement1 that there are no evidences of colour on the statues or figures of the ,parthenon4 ,the hair appears to have a red tint1 which becomes distinctly apparent upon the application of water40--,note of the ,committee4 7,signed7 8,,thos4 ,l4 ,,donaldson1 ,hon4 ,sec40 ,the following is the report which was laid before the committee1 from ,dr4 ,faraday1 upon some portions of coatings of marble taken from several buildings1 at ,athens1 by ,professor ,donaldson4 8,,my ,,dear ,,sir1 8,i return you the box1 with the remains of the samples4 8,a4 ,portion of coating taken from the ant of the ,propylaeum4 8,the blue produced by carbonate of copper3 wax being mingled with the colour4 8,b4 ,portion of coating taken from the soffits of the mutules of the ,theseum4 8,the blue is a frit or vitreous substance coloured by copper4 ,wax is present here4 8,c4 ,portion of coating taken from the columns of the ,theseum4 8,i am doubtful about this surface4 ,i do not find wax or a mineral colour1 unless it be one due to a small portion of iron4 ,a fragrant gum appears to be present in some pieces1 and a combustible substance in all4 ,perhaps some vegetable substance has been used4 8,d4 ,portions of coatings from the caissons or lacunaria of the ,theseum4 8,the blue is a copper frit1 or glass1 with wax4 8,e4 ,portions of coating from the northern wing of the ,propylaea4 8,the colour a carbonate of copper4 ,wax is present4 8,f4 ,ditto1 ditto 7north wing of the ,propylaea7 as ,e4 8,i also return you the drawings and letter4 8,every truly yours1 7,signed7 8,m4 ,,faraday4 8,t4 ,l4 ,donaldson1 ,esq41 c40 ,,on ,,the ,,origin ,,of ,,polychromy ,,in ,,architecture4#g ,,by ,,professor ,,semper4 ,from the time of antiquity to our own day men have sought to discover or invent the probable origin of the various systems of architecture4 ,besides the well known hut of ,vitruvius1 and the no less celebrated grotto of the ,ichthyophagi or fish-eating races1 7the supposed type of the ,egyptian temples71 the tent of the ,nomad1 or wandering races1 occupies a very important place in our theories of the origin of styles4 ,in the catenary formed by the fall of the drapery of a ,mongol tent1 has been recognised the type of ,chinese and ,tartar architecture4 ,footnote #g3 ,extracted from an ,essay written in #aheb1 and published in ,germany under the title of 8,the ,four ,elements of ,architecture40 ,by ,,professor ,,gottfried ,,semper4 ,but no notice has been taken of the much more evident and less doubtful influence1 which drapery itself1 in its quality of a vertical wall1 or partition1 has exercised on certain architectural forms4 ,nevertheless it is the motif which ,i venture to cite1 as the one on which ancient art has been principally founded4 ,it is well known that the nascent taste for the beautiful among those races which are in a state of social infancy1 is first exercised in the manufacture of coarse tissues1 which serve either as beds or as partitions4 ,the art of dress is less ancient than that of the manufacture of stuffs1 as several examples of people to whom clothing is unknown1 and who nevertheless possess an industry1 more or less developed1 in tissues and embroidery1 may satisfy us4 ,the earliest woven work would seem to be the fence1 that is1 branches of trees interlaced1 serving the purpose of enclosure and of partition4 ,the most savage tribes are acquainted with this method of construction4 ,thus the employment of coarse tissue or woven work 7which was a mere fence7 as a means of securing privacy from the world outside certainly far preceded the constructed wall of stone1 or of any other material2 this last only became necessary at a much later period1 for requirements which in their nature bear no relation whatever to space and its subdivision4 ,the stone wall was made for greater security1 longer duration1 and to serve as a support for heaps of various materials and stores2 in fine1 for purposes foreign to the original idea2 viz41 that of the separation of space1 and it is most important to remark1 that wherever the secondary motives did not exist1 woven fabrics maintained1 almost without exception1 especially in southern lands1 their ancient office1 that of the ostensible separation of space2 and even in cases where the construction of solid walls became necessary1 these last are but the internal and unseen scaffolding of the true and legitimate representatives of division1 that is to say1 of drapery richly varied with ornamental work1 interlacings1 and colours4 ,the difference which exists between the ostensible and principal separation1 and the constructed separation1 is expressed in ancient and modern languages by terms more or less significative4 ,in the ,latin tongue1 a distinction is made between paries and murus4 ,the ,germans1 in the word wand 7of the same root with gewand1 which means texture7 recal still more directly the ancient origin and type of a wall4 ,new inventions soon led to different methods of replacing the primitive drapery1 and every art was successively called in to contribute its part to these innovations1 which may have been brought about by various reasons2 such1 for example1 as the desire for longer endurance1 for the sake of cleanliness1 economy1 comfort1 distinction1 coolness1 heat1 c4 ,one of the most ancient and most general methods of replacing the use of drapery or tapestry is the coat of stucco or of plaster1 furnished by the masons who built the walls4 ,another very ancient method of replacing the original tapestry is1 that of wooden panels1 with which the wall was covered internally4 ,that which proves the antiquity of this custom is1 that in several ancient languages the expression which is only properly applicable to panels of wood1 serves indifferently to signify every kind of flat surface 7table7 in wood1 metal1 ivory1 or any other material4 ,it is thus we must explain the ,greek expression 1 7in ,latin tabula7 as a painting on wood1 or also on marble1 baked clay1 c4 ,plates of burnt clay1 thin but of large circumference1 were equally called 840 ,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 draperies4 ,see ,vitruvius1 on this point1 in the chapter on ,plastering4 ,wiegmann has erred in attributing the same system of ancient painting to purely technic causes4 ,the ,ceramic art was1 in its turn1 called on as a means of replacing drapery4 ,it is certain that potter's clay painted1 and even glazed1 served1 at a very remote period1 as a covering for walls4 ,it may even be admitted1 that the employment of the potter's art on the surface of walls1 preceded the manufacture of burnt bricks1 and that the invention of burning bricks was the result of the custom cited above4 ,the mural incrustations in baked clay were the precursors of brick masonry2 in the same manner as the ,assyrian slabs may be considered to be the forerunners of constructions in hewn stone4 ,we shall return again to this subject4 ,among the various methods of replacing the use of drapery1 should be also mentioned those furnished by metallurgic processes4 ,vestiges of metallic coverings on walls have been found on the oldest existing monuments2 and the most ancient annals of mankind are filled with recitals of buildings resplendent with gold and silver1 bronze and tin respectively4 ,as an invention of relatively recent date1 may be cited lastly1 the use of slabs of marble or stone1 granite1 alabaster1 c41 notwithstanding that we find traces of this custom1 but as it were already effaced1 on the most ancient monuments of the earth4 7,see farther on74 ,in all the cases we have named1 the character of the substitute followed that of its original type1 and the painting and sculpture1 or rather the two united1 on wood1 plaster1 burnt clay1 metal1 stone1 or ivory1 was--and traditionally continued to be--an imitation1 more or less faithful1 of the embroideries or variegated interlacings which ornamented the antique wall-coverings4 ,it may be asserted that the entire system of decoration1 with the art of painting and sculpture in relief1 up to the period of its highest application1 which is that of the tympanums of the pediments in the ,greek temples1 proceeded from the manufactures of the ,assyrian weavers and dyers2 or rather from their predecessors in human inventions4 ,in any case1 it was the ,assyrians--next to the ,chinese--who appear to have preserved most faithfully the antique type1 even in its application to a different material4 ,we will enter a little more explicitly on this subject4 ,,the ,,assyrians4 ,the ancient writers often mention and praise the ,assyrian tissues for the art employed in their manufacture2 for the splendour and harmony of their colours1 and the richness of the fanciful compositions with which they were embroidered4 ,the mystical figures of bucentaurs1 lions1 dragons1 unicorns1 and other monsters1 which the authors describe1 are absolutely identical with those which we see on the bas-reliefs of ,nimroud and ,khorsabad4 ,but this identity was not in the subjects alone4 ,there is no doubt that the manner of treatment1 the style of these subjects1 was identical with that of the objects embroidered on the tissues1 which ancient authors have described4 ,on examining somewhat attentively the ,assyrian sculptures1 it is easy to satisfy oneself that the art of the ,assyrian sculptor moved within limits traceable from its origin1 viz41 embroidered work1 allowance being made for certain alterations of style1 caused by the requirements of a new material4 ,one perceives in these ,assyrian sculptures1 the desire on the artist's part of an attention to the truth of ,nature1 but that he has been hindered in his task1 not--as with the ,egyptians--by a regular hieroglyphic system and hieratical laws1 but rather by the caprices of a method difficult1 and indeed foreign to sculpture1 the influence of which was still strongly felt4 ,thus the sculpture of this people kept itself within the bounds of a very low and flat relief1 exactly similar to that of some productions of ,chinese woven work1 seen in the ,great ,exhibition of #ahea1 which possessed peculiar interest in the history of ,art1 inasmuch as they exhibited the transition of the high woof into polychromic bas-relief4 ,the ,assyrian figures1 without being embalmed mummies like those of ,egypt1 show1 nevertheless1 much stiffness and irregularity2 they appear as it were imprisoned and confined within an invisible canvas4 ,their contours are1 so to speak1 tacked in with threads4 ,one recognises in them an awkwardness and hardness arising from the contest of the artist with a material foreign to the style3 whilst the ,egyptian bas-reliefs evince an original1 canonical1 and voluntary stiffness4 ,i am tempted to believe that all those slabs of alabaster from ,assyria1 with their religious1 warlike1 and domestic scenes1 are nothing more than exact copies in stone1 after originals in tissues1 at that time celebrated and executed by good native artists1 who worked on that material only1 whilst they employed mere workmen to transfer the originals on to stone1 as well as the material would allow1 which explains the difference between the design and execution which these works betray4 ,this same character is also found on the ,assyrian paintings4 ,it is not to be doubted that the true tapestries were employed with profusion1 side by side with the stereotyped copies3 and probably these last were often covered with the originals1 on the occasion of solemn ceremonies1 c41 and that they were only exposed during the intervals between the ftes1 c4 ,we observe the same thing at this day in the ,catholic churches1 where this ancient custom1 with many others1 is strictly preserved4 ,the inscriptions and their application in bands1 indicate the same origin4 ,does it not appear as if the cuneiform characters were invented and designed for execution in needlework8 ,in fine1 the simplicity of the system of paving of the rooms1 otherwise so richly ornamented1 goes to prove that they were originally covered with tapestry4 ,it is only the slabs which form the cills of the doors on which tapestry could not be placed1 which indeed form an exception1 being ornamented with engraved work1 in imitation of tapestry4 7,see ,layard47 ,it is thus that these last became also the types of parquetry work in mosaic4 ,up to the present point1 we have only considered what relates to the representations found on the ,assyrian slabs4 ,but these1 in themselves1 give us still more cause for reflection1 and singularly justify our assertion of the importance1 in an architectural point of view1 of the coverings of walls4 ,the principle of panelling constructed work shows itself here in all its primitive simplicity4 ,we know that almost all the lower portions of walls1 within and without1 were covered with thin slabs of alabaster or basalt4 ,the same principle under another form1 obtained in the upper portions of the walls2 here1 the walls of unbaked brick were inlaid with glazed bricks2 but the plan pursued by the ,assyrians in executing this incrustation differs greatly from that which we observe elsewhere1 and from what we pursue at the present day4 ,the ,assyrian bricks are only glazed on the external side1 and the ornaments and other subjects which were figured on them in the glazing1 bear no relation to the construction1 so that the ornamental lines cross the joints of the bricks irregularly4 ,the enamel is very fusible and the bricks but slightly burnt1 evidently with the sole intention of fixing the glazing on them1 which induces me to conjecture1 that the use of glazed pottery preceded and prepared the way for that of baked bricks1 and that the art of pottery was already far advanced before the introduction of burnt brick work4 ,other indications which would take too long to specify here1 have proved to me1 that the bricks received their coating placed in a horizontal position3 ,first1 they were ranged in the order which they would take when in their place1 they then traced the design formed on this arrangement of unburnt bricks2 next1 they covered with these painted bricks--observing still the same order--the interior of the room2 and lastly1 they placed a fire in the room to fix the varnish which covered the walls4#h ,footnote #h3 ,the same method is to be found in some old buildings in ,scotland4 ,it results1 from what ,i have observed1 that the decoration of the wall did not depend upon the construction of the same1 even when baked and glazed bricks were employed4 ,the constructive system--after the manner of mosaic--of decoration in enamelled bricks is a later invention1 probably a ,roman one4 ,the enamelled ,assyrian bricks1 should be regarded as a mural incrustation1 as a covering absolutely independent of the wall itself1 and even of the terra-cotta slab or tile1 on which it was directly fixed4 ,,the ,,persians4 ,the ,assyrian system of panelling the lower portions of their buildings with slabs of alabaster1 may be considered as the first step towards construction in hewn stone1 and towards the introduction of the 8coupe de pierre0 into the number of architectural and ornamental elements4 ,it is only in the terraces1 and the sub-basements of buildings1 in the primitive ages of art1 that hewn stone and its construction appeared to the eye4 ,these parts of the buildings were the mason's oldest domain4 ,the ,persian monuments of ,murgaub and ,istakir1 afford us the means of observing the second step which decorative art made towards the principle of construction4 ,they were composed1 like their models in ,assyria1 of unbaked bricks1 of which nothing remains1 whilst however1 the direction of the walls is still indicated by marble pillars1 which originally served to strengthen the angles of the walls1 and by the jambs of doors and windows and by niches1 with which the walls were ornamented4 ,all these parts were ornamented in the ,assyrian manner1 and testify to the principles of which we have been speaking4 ,but here we have no longer slabs1 but hewn masses of stone of enormous dimensions1 frequently monoliths4 ,nevertheless1 in spite of their solidity1 they betray their type1 in a most remarkable manner1 inasmuch as they form a kind of framework hollowed out internally to receive the mass of masonry in unbaked brick1 which they were designed to cover and to protect1 and which1 in the interspaces of the pillars and jambs above-named1 were covered with slabs of marble1 or more probably1 with panels of cypress-wood1 covered in turn by plates of gold and silver1 or it may be also with richly embroidered stuffs4 ,,the ,,egyptians4 ,the theocratic system of the ,egyptians1 although its origin extends beyond the horizon of history and even of tradition1 is not the less based on the ruins of a social state more ancient still1 and much more natural4 ,the founders of this system1 have altered the primitive style of architectural decoration in petrifying it2 that is to say1 in making it a style eminently adapted for stone constructions and monuments4 ,but amidst the hieroglyphical symbols may still be recognised the traces of its origin1 obscure it is true1 but unmistakeable4 ,it has been observed by travellers in ,egypt1 that ,egyptian art bears quite a different character in the sepulchral tombs1 to that which is observed on the great temples and palace temples of the kings4 ,it is that in these sepulchral chambers1 art could move somewhat more freely than it was permitted to do in those grand monumental edifices1 which were raised under the immediate influence of the priesthood4 ,now it has been proved that in all the tombs1 the ancient method of draping the walls1 or rather of decorating them in the style of tapestry1 was apparent in its greatest simplicity4 ,it is observable1 first in the character of the ornaments themselves1 which consist of interlacings and gracefully varied knots1 whilst these decorations borrowed from the weaver's art1 are almost banished from the temples and are replaced by symbolic figures and ornament4 ,it may be recognised1 in the second place1 by the fact1 that the paintings in the sepulchral tombs are generally enclosed with borders1 as if to indicate that they represent suspended tapestry4 ,although this primitive type shows itself less positively in the temples1 indications are nevertheless not wanting which remind us of it4 ,the contemporary artists of the ,french expedition have already observed--and their discovery has been since then verified--that the monuments of ,egypt1 including even those executed in granite1 have been covered with a complete coating of colour and varnish1 over the entire surface4 ,that indeed might be expected1 for the hewn stonework of the ,egyptian constructions1 in spite of the neatness of its workmanship1 is not laid in regular courses1 which tends to prove that this irregularity1 which contrasts with the symmetrical system of the decoration on it1 was hidden beneath a coating which covered the whole mass4 ,these monuments exhibit then the third transition step towards regular construction in hewn stone4 ,the construction1 though massive and real1 is always hidden1 and does not enter yet as an ornamental motive in the compositions of the architect4 ,it is worthy of observation1 that one of the mouldings of ,egyptian architecture seems to be explained by the same ancient custom of encrusting brick buildings with stone slabs1 which we have remarked on the ,assyrian monuments4 ,i allude to the torus moulding which encloses the external walls of edifices4 ,it served to hide the joints of the slabs which covered the internal work4 ,it is certain that the most ancient monuments in ,egypt were constructed in unbaked bricks1 which must have been covered with stone slabs in the manner above indicated4 ,the ,pyramids afford us very remarkable examples of this system of panelling1 which is found still perfect in the sepulchral chambers contained in them1 and the traces of which are still visible on the exterior4 ,the same observation applies to the ,palace of ,osirtesen at ,karnak1 the walls of which are panelled with slabs of polished red granite1 bearing the traces of a transparent coating with which they were covered4 ,,the ,,chinese4 ,china is a country where architecture has remained stationary from its early birth1 and1 consequently1 the elementary motives of it are most distinctly preserved2 they are placed side by side1 without being conjoined by a general ruling idea4 ,the external surface of the wall is still quite independent of the wall itself1 and indeed is most frequently movable4 ,the wall bears its own burden alone1 and has only in view the filling up of the intervals between the wooden columns which support the third elementary want1 7i4 e47 the roof4 ,the wall is only a screen1 more or less solidly executed than others1 constructed in slight brick work1 covered externally with painted stucco decoration or interlaced cane work1 and internally with tapestry1 or its substitute1 painted paper4 ,the internal divisions are formed by screens of the same description1 and by drapery hung from the ceiling4 ,the design of the ornament1 painted and carved upon them and throughout the building1 is founded on the same principle of interlacings and cane trellis-work1 more or less intricate1 and hardly to be recognised through the oddities of successive fashions4 ,a polychromy1 rich and brilliant1 prevails1 which has not been considered with that attention which it deserves in its relation with the ancient style of polychromy4 ,,the ,,indians4 ,the monuments of ,oriental ,india1 bear the impress of a settled civilisation1 at least of the tertiary period4 ,they are comparatively modern in principle and in date2 but they furnish us1 nevertheless1 with very important hints on the history of polychromy4 ,the frequent use of stucco1 which is better made in ,india than anywhere else1 recals the system of the ancients1 in covering their fine hewn stonework with a very fine and hard incrustation of stucco4 ,the ,indian edifices constitute1 as it were1 but a scaffolding from which to hang the drapery forming divisions of their spaces1 as in ,china1 and as formerly in ,assyria1 ,egypt1 and ,greece4 ,,the ,,jews ,,and ,,phenicians4 ,at present we have only mentioned existing examples2 but the ancient writings furnish us with other no less important matter4 ,the description of the celebrated ,ark of ,moses1 and of the ,tabernacle1 taken with that of the ,temple of ,david1 contains a complete history of polychromy4 ,this curious recital of ,jewish antiquities presents us with a progressive development of that elementary principle of architecture which ,i term 8the ,enclosure40 ,the documents and chronicles of other nations furnish us with parallels to what is contained in the holy writings4 ,the ,temple of the ,slaves at ,mechlenburg1 according to the description of ,baron von ,rumohr1 on the faith of ancient chroniclers2 was constructed in the ,oriental fashion1 and richly ornamented with tapestry and gilded wood work4 ,,the ,,greeks4 ,we now come to the ,greeks4 ,hellenic art must have partaken of the composite character which is manifested in ,hellenism generally1 and which is so well expressed in the ,grecian mythology4 ,as the beautiful marble1 which forms the cliffs and coasts of ,greece1 notwithstanding its homogeneous transformation1 betrays by veins1 by fossils1 and other indications1 its sedimentary origin1 so ,hellenism1 although it may appear homogeneous1 and cast--so to speak--in one single jet1 betrays1 nevertheless1 its secondary origin1 and the sediment which constitutes its material groundwork4 ,it would be important to follow up these vestiges of rudimentary ,hellenism1 since they might enlighten us on certain phenomena in ,hellenic art1 which have been up to the present time inexplicable without them4 ,this applies especially to the polychromy of ,greek edifices4 ,much yet remains to be done in this department of ,art ,history1 which has been generally discussed either by learned men but no artists1 or artists with little learning4 ,the vestiges of rudimentary ,hellenism of which ,i speak1 wherever visible1 present the same features that we meet with in ,assyria1 ,egypt1 and ,china1 and even among savage races2 but it would appear that the ,greeks1 prior to treating in their peculiar manner those principles of art which they inherited1 had partly forgotten their origin and their material or hieratical meaning4 ,thus1 only1 could they have had the mind free1 and ready to commence them anew with an artistic and poetical feeling4 ,exactly the same thing occurred in their mythology1 which is only poetic fiction based on traditions and fables1 partly native1 partly foreign1 the primitive meaning of which was no longer understood by the poets1 who formed them into the groundwork of their cosmogony4 ,the system of ,greek polychromy is the richest of all those of antiquity2 but it is1 apparently1 based neither on a principle of construction or material as among the ,assyrians1 nor on a hierarchical principle as among the ,egyptians4 ,the most striking oppositions of principle are found united in it and harmonised1 a more artistic and elevated1 but less positive conception4 ,nevertheless1 this applies only to the edifices of a period when art was in a state of high development among them1 since the ancient ,doric system appears to have had much in common with ,egyptian art before it was penetrated by ,ionian influence1 which depended rather on ,asiatic traditions4 ,i am convinced that the style of ,doric polychromy was essentially different to that of the ,ionic1 which was1 notwithstanding1 of equal antiquity and originality4 ,doric polychromy was based on the ,egyptian system1 whilst that of ,ionia was based on ,asiatic models4 ,the first named was lapidary2 the colours were detached on a whitish or yellowish ground2 there was no gilding1 and the use of blue was common1 that being the holy colour of the ,egyptians 7a turquoise blue71 the symbolic colour of the priesthood and aristocracy4 ,the second was more primitive in its nature and recalled more directly the elementary motive of tapestry and embroidery4 ,the ground was generally of a rather deep colour1 blue or red1 even in the constructive portions1 such as the shafts of columns1 architraves1 c41 a good deal of gilding and sea-green 7prasinum7 was used2 the favourite colour of the ,assyrians1 the symbolic colour of absolutism and of democracy4 ,the green is still now the holy colour of the successors of the ,assyrians in ,asia4 ,this difference of style1 analogically observable in the music of these two races1 explains the divergent investigations made on the temples of ,sicily1 and those of ,athens4 ,the monuments of ,athens1 ,doric in their general appearance partook1 nevertheless1 a good deal of the ,ionic character4 ,the ,ionic mind had penetrated ,doric matter1 and colour being the least material was that which the ,ionian sentiment most easily mastered4 ,it would be a difficult but very interesting task to unravel the religious and political signification of certain colours in ancient times4 ,we know that red1 blue1 turquoise1 and sea-green1 were the four colours by which the factions of the circus distinguished themselves4 ,these were not capriciously chosen1 each faction having adopted that colour1 the symbolic and traditional meaning of which agreed with the political principles professed by it4 ,traces of the antique system of covering construction with tables of wood1 plates of metal1 or slabs of stone1 representing tapestry-work1 may still be perceived in the ,grecian monuments1 for those parts of them which were destined to be ornamented with historical paintings or painted sculpture1 are executed in the ,assyrian fashion2 as1 for example1 the tympanums of the pediments1 the metopes1 the friezes1 the parts between the columns1 and round the walls of the 8cella40 ,it is thus that ,grecian monuments show us the fourth path which architecture made towards stone style4 ,the constructive parts of the building1 that is to say1 those parts which constituted the entablature of the roof1 and its supports1 the columns1 were painted with the colour of the ,greek vases1 viz41 a very transparent and vaporous brown-red4 ,the walls1 inclusive of the 8ant10 which formed only projecting parts of the walls1 were of a blue1 which was broken by black and a little yellow1 and not very dark4 ,this colour formed also the ground for most of the sculptures1 except the metopes1 which ,i believe had red grounds4 ,the red in the ornamented mouldings was a very bright vermilion1 differing from the red of the ground by colour and treatment4 ,the same is the case for the blue1 which1 in the ornamented mouldings1 is deeper than on the large surfaces1 and tinted in different shades4 ,the oves1 or eggs1 for instance1 were blue1 with a darker blue tint around4 ,the green is a colour which occurs frequently on the ,athenian temples1 so on the leaves on the moulding which runs under the frieze of the opisthodome of the temple of ,theseus1 and between the red and blue leaves of the capitals of the ant4 ,the same sea-green occurs on the draperies of some sculptured figures4 ,the enamels of wax were frequently covered with washes of thinner colours4 ,this has not been remarked by our restorers of antique polychromy1 but is nevertheless necessary for giving softness to the general effect4 ,the ornaments1 as ,i have just observed1 are placed in pieces and soldered together2 the solderings forming fillets slightly elevated from the surface and of another colour4 ,i cannot say whether in gold1 black1 or even in some parts white4 ,i have1 for my own part1 adopted the hypothesis that it was gold in the ,athenian temples1 but not on those of ,sicily where a strict ,doric character prevailed4 ,i have not found many traces of colour on the ,ionic temple of ,minerva ,polias1 and cannot say if the red1 which ,i found on the columns of the ,northern ,portico1 belonged to the ancient colouring1 or was of more recent date4 ,on the plate1 in my work1 which gives a panel of the temple of ,theseus1 is seen the design of a row of pearls1 with a double range of disks4 ,i can guarantee the exactitude of my observations1 although this extreme richness and smallness of detail in an object destined to be seen from a distance may well astonish us4 ,i have traced every mark on the stones themselves3 and1 moreover1 subjects of this kind are not capable of being invented2 indeed it would be a great compliment to suppose me capable of inventing these designs1 which ,i consider charming4 ,in the portion which ,i have found in the wall with the niche 7see my work71 these details are not to be seen4 ,i have also discovered traces of colour1 very much effaced1 on the small choragic ,monument of ,lysicrates1 which ,i have carefully examined4 ,it appears that on the ornament which surmounts the roof1 there was a variety of blue and red1 and that the acanthus leaves were coloured green4 ,the tripod was not placed upon this ornament1 but round it1 the feet resting on the three volutes which descend from the roof1 analogously to the marble tripods which are often met with in various museums of antiquities4 ,i will not speak of the colours of the ,parthenon1 which are not so well preserved as those on the ,temple of ,theseus1 but the traces of ornament which decorated that temple are seen by the incisions still remaining4 ,it would appear that the system of ornament there applied was similar to that on the ,temple of ,theseus4 ,some years after my sojourn at ,athens1 portions of this building have been excavated1 with the colours very well preserved2 as well as other fragments of architecture which belong to the old ,hecatompedon 7destroyed by the ,persians7 covered with painted stucco4 ,i have not found very decided traces of the colours employed on the ,temple of ,minerva ,polias2 the columns appear to have been red1 as at the ,temple of ,theseus4 ,the ceiling of the ,temple of the ,caryatides had painted frets and orvolos1 which ,i have traced2 but the colour was no longer visible4 ,traces of painted ornaments are to be found also on the ,tower of the ,winds4 ,i have not been able to get a close view of them4 ,as regards the sculptures1 ,i have found some regularly encrusted with colour4 ,i have found green 7prasinum7 on the tunic of one of the seated goddesses1 on the frieze of the ,temple of ,theseus3 another figure was clad in a vestment of a deep rose colour4 ,the ,caryatides of the ,erectheum had blue tunics4 ,we may see that1 even on the one in the ,british ,museum4 ,mr4 ,bracebridge has described statues which were excavated in his presence near the ,parthenon with flesh tints and painted eyes4 ,the figures of the pediment of the ,temple at ,egina still retain traces of the colours with which they were decorated4 ,the same observation applies to the metopes of the temple at ,selinuntum1 now at ,palermo4 ,curious fragments of painted architecture may also be seen at the museums of ,syracuse and ,girgenti4 ,the ,romans painted their white marbles1 like the ,greeks4 ,the three columns of the ,jupiter ,stator in the ,roman ,forum are painted red on that portion which has remained a long while buried4 ,the ,trajan ,column1 which ,i have examined1 retains traces of colour and gilding3 the entire column had been once covered with a rather thick coating of colour1 in which ,i recognised green1 blue1 and yellow2 but it is probable that this last was the remains of the gilding4 ,,bradbury ,,and ,,evans1 ,,printers1 ,,whitefriars4 ---------------------------------------- -------------------------------- ,,transcriber',s ,,notes #a4 ,silently corrected typographical errors and variations in spelling4 #b4 ,archaic1 non-standard1 and uncertain spellings retained as printed4 #c4 ,enclosed italics font in underscores4