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THE CIVIL ENGINEER AND ARCHITECTS JOURNAL. 



[Makch, 



by an ancient epigram on (he statue of Jupiter in ivory and Rold, in a tem. 

 pie similar to the I'arlheuon, namely, that if the god rose he would carry 

 the roof with him ; while the eiilire closing the roof and consequent ex- 

 clusion of the best light for a statue, the light of day, seems very impro- 

 bable- A partial opening admitting light, by the means of some semi- 

 transparent substance, appears in the absence of all proof the most feasible 

 supposition. 



As to the columns that supported the roof equal obscurity exists, the 

 most probable supposition being the last one on the subject, and which has 

 only been lately brought to light on destroying the mosque, in 1814. M. 

 Pittakis, in a letter to me on the subject, gives it as his belief, that the traces 

 of Doric columns found on this removal of the mosque, with a diameter of 

 fire feet, supported an upper tier of the Ionic order. This statement of the 

 diameter of the lower or Doric tier, being of the proportions of live feet in 

 diameter, is confirmed by the personal observations of Mr. ISracebridge, 

 and of Mr. Penrose. On the other hand, in letters read at this Institution, 

 from Mr. Knowles, a month since, the diameter is given at 3ft. 7J in. 

 I am at a loss to account for this great discrepancy on a subject so interest, 

 ing, and apparently so easy to be ascertained. Now admitting the Doric 

 to have been the original structure, and live feet the diameter, it then 

 appears from the following diagram that there would be no space for an 

 upper tier, for if it be an Ionic one, it must have been disproportionately 

 8niall compared with the bulky Doric below. Supposing the Doric to 

 hare been used, I am rather disposed to believe that an upper tier could 

 not have been used, but that some other architectural feature must here 

 be substituted. 



No. 1. No. 2. No. 3 



6 feet 2. fi feet 6. S feet. 3 feet 6. 



No. 1 Outer Column.— No. 2 Column of the Pronsus.— No. 3 Size of the traces of Columns 

 lately discovered.— No. 4. The arrangement of the interior in the restoration. 

 AVith regard to the chief sources of authentic information as to the 

 use of colours by the ancients, the subject has beeu exhausted by the 

 able remarks of the various writers on this matter; Mr. Hamilton, in 

 his translation of the report of the committee who investigated the mar- 

 bles of the Parthenon, appears to have had no biason the subject, and 

 the inferences I derive from his translation are, that someof the early temples 

 must have been white, and that others were certainly painted, but no hint is 

 given as to the period, and as to the actual tintsonthe most perfect specimens 

 of remaining colour in the temple of Theseus, Semper found some blue colour 

 ■nder the necks of one of the anta:, and therefore drew the conclusion that 

 the whole of the wall of the cella was blue. Scheubert on the other hand 

 sayshe found on thesame spot colour, and that it was yellow, and yellow in his 

 opinion was the colour of the cella. Another observer found what he con- 

 sidered red, and draws similar conclusions. But although this discrepancy 

 exists on this point, all agree in stating that above and below the 

 frieze, iu the Parlhenon, the meander ornament was painted in a 

 reddish brown. On that brown, gold has been discovered, and therefore 

 some suppose the colour to have been the ground for the gold, and this 

 also applies to the elegant palm leaves, on the facia, below the triglyphs 

 and the ornament on the pediment. 



Admitting as we must, from the amount of evidence that the Greeks did 

 use much colour on their works, yet with regard to tlie actual mode of 

 applying it, or the period of its most general use, we are in a state of great 

 uncertainty. 



It has been observed respecting the purity or impurity of taste in the 

 use of colour by the Greeks, that this consideration was foreign to a resto- 

 ration, that it was for us to decide on the question by the proofs as adduced, 

 and that in restoring we must restore colour as demonstrated, and that wo 

 have no right to set any fastidious idea of our own in the use of colour 

 ia opposition to the practice of the Greeks, where that practice admits of 

 proof. To this however I would beg to demur, that from our practice in 

 the use of colour, we have no right to assume, that the ancient Greeks 

 «sed colour as we now apply it, especially in their application of it to their 



highest uses in painting their divinities. We have it in eridence that the 

 columns of the Parthenon were painted red, but the circumstance 

 that the paint exists iu the openin); of the joints of the columns demonstrates 

 that the colour was applied at a late period, subsequent perhaps to some 

 earthquake or other commotion, because on the completion of the temple the 

 joints were so close as to prevent the insertion of colour. Now it does ap- 

 pear to me, that of a style of art so severe and chaste as the architecture 

 and sculpture of the Parthenon, the high excellence can only be com- 

 prehended and appreciated, by our having still in existence enough of the 

 precious fragments to form some conception of theeffectsof the whole. What 

 kind of idea could we have formed of the architecture and sculpture from 

 mere description or fragmentary evidence? Let us reflect — wtiat idea 

 does our own art give us of the perfection of Greek art, except as a close 

 imitation of that which actually exists. M'ithout the actual work of the 

 Greek artists before us, who could have propounded any resuscitation of 

 its high excellence eiiher in form or execution ? And in like manner from 

 the nature of things, I am entitled to contend that in the best times of 

 Greek art, where colour was applied, it was used with equal severity, 

 chastity, skill and purity, as the sculpture and architecture demonstrate, 

 and therefore reasoning from analogy as from fragments alone, we could 

 not hope to restore as a whole, neither can we in colour hope to reconstruct 

 with our limited opportunity of observing, not so much perhaps as to 

 the actual tints as to the mechanical application of them, after the beautiful 

 sculpture had received all its wonderful discriminative touches, th* 

 marking of bone, tendon and muscle. Does it seem probable that 

 men of such cultivated tastes would have smeared over these highly 

 wrought forms with oil and earth ? Does it not. Sir, seem more probable that 

 the surface was stained with colour, not coated with a pigment? in using 

 colour to embody the forms of their deities, we may be assured that the 

 same amount of skill, pure taste, and beautiful appliance would be used 

 as was shown in producing and finishing the actual form. Viewed in this 

 light, it is by the power of the imagination, and this power alone, that we 

 of these latter dajs can comprehend the glorious aspect of the Parthenon, 

 in its integrity of colour as well as form. It may be that my bias may render 

 me an incompetent judge on this subject, but I have searched with 

 much assiduity, and I believe that all the colour I have seen results 

 from the surface being stained, not painted. In some parts colour re- 

 maining, shews the pure surface of the marble where it has been 

 protected by the pediment; and where exposed. In some parts the original 

 surface is still preserved by the means applied to tint it, and as the 

 other surrounding portions are deeply corroded by time or drip, so I 

 believe that the process of tinting hardened and preserved the semi- 

 transparency of the marble; and of that mode of execution as applied to 

 sculpture, I do not thiuk we have acquired the secret. 



Having thus briefly explained the structure and decorations of the 

 Parthenon, we proceed in our endeavours to investigate the principles of 

 design that characterise this great work of Phidias and Ictious. The 

 etfect which their work creates on our minds appears everywhere to be 

 produced by the same means, — variety and contrast in unity — whether in 

 its architectural construction, in the selection of the subjects for the 

 sculptures, or iu their composition and treatment. In the architecture, the 

 solemn and rigorous uniformity of its masses, and the severe proportions 

 of the columns, contrast marvellously with the boundless diversity of the 

 lines of the sculpture. And while unity is thus preserved by the symme- 

 trical character of the whole structure, clearly and intelligibly stated to the 

 eye, and commanding the observance of the mind, the attention is enchained 

 and preserved by the beautiful and harmonious play of light and shade 

 resulting from the inner columns of the pronaus being smaller than the 

 outer, and being placed on steps, which c.irry the inner architrave higher 

 than the outer. The beautiful frieze is thus placed above the spectator's 

 first glance, and reserves for him beauties veiled from his first impression, 

 and therefore far more effective in their unobtrusive display at the proper 

 period. 



It was thus, by an inexhaustible power of invention that Phidias pro- 

 duced that great impression, which all minds gifted with a perception of the 

 beautiful acknowledge, in the contemplation of the Parthenon; and, for 

 ourselves, let it be our study to dwell on these noble works, and to seek to 

 imbue ourselves with their spirit and power, in the choice of noble theme, in 

 composition and treatment. This, then, is the proper influence these noble 

 examples should exercise on our art, to produce a truly National School of 

 Sculpture; for we cannot be blind to the circumstance, that merely re- 

 peating the /wrms of Greek art ; must altogether fail in producing such a 

 desideratum, (Jreek art was perfect because it was national, because its 

 peculiarities suited alike the national feeling and the national religion. An 

 attempt to repeat the mere forms, whether united to their myths or 

 without that appendage, must fail to satisfy in any department of art, as 

 far as regards the producing an English School, either in poetry or 

 sculpture, painting or architecture ; yet the contemplation of the myths of 

 the Greeks is full of interest and use, as adding to the amount of our 

 knowledge of the operations of the human mind, and here we may learn 

 how man sometimes produces results so perfect as to become laws, and at 

 it were to form an eternal model of fitness and propriety, the result of 

 wants perfectly supplied, of ideas perfectly embodied, of uational feelings 

 incorporated with and represented by national emblems. 



It requires indeed a considerable knowledge of (ireck art to be able to 

 appreciate the full amount of influence it may exercise, and a still more 

 Iborongh acquaintance with their works, to comprehend their real scope and 



