By Mr. T. Gambier Parry. 43 
which now makes any harmonious combination of those arts im- 
possible. In so short a paper I can only offer a few notes on two 
branches of this large subject :—(1.) The methods of art employed 
in former times. (2.) The principles which, in the most perfect 
styles of art, have guided and ever must guide the combination of 
painting and architecture. 
From the earliest times to our own there appear to have been 
three distinct methods of architectural painting in common use. 
Fresco, encaustic, and tempera. There were many modifications of 
each. Their history is of great practical value tous. The earliest 
_ method was that of tempera,—the fixing of colour pigment to a 
surface by some retentive and protective medium. Size was the 
oldest and commonest—as used from the days of the Egyptians to 
our own. Wax, too, appears to have been used by them asa 
medium in tempera. It becomes a water colour medium by admix- 
ture with egg or alkali. It is, however, of little moment to us, 
except for its archeological interest, what was used in such a cli- 
mate as Egypt. 
In Greece and Italy, the method most valued for its durability 
was the encaustic. It was very variously used—so much so, that 
_ that word came to be employed in any method in which wax formed 
the principal ingredient. "Wax was in all probability the earliest 
_ protective vehicle used for colours in the architectural painting of 
the Greeks. Their earliest temples were of wood, and so too were 
their statues. It is hard to believe that the maritime Greeks, 
whose principal emporium was Egypt, could have remained unin- 
fluenced by what they saw there, where every work of art or 
ingenuity was rich with natural or artificial colours. As they 
_ preserved and painted their wooden ships, so would they preserve 
and paint their wooden temples. The tradition that they did so 
is preserved by Vitruvius, who states that the Greeks covered the 
_ ends of beams or roof timbers: exposed to the weather with blue 
; wax. The exceeding softness of the effect of colour used with a 
wax medium, was just what the Greeks desired. It was used in 
various ways, with a brush, with a spatula, with the encaustic 
process, and without it. Wax was also the main ingredient in 





