I have placed in the gallery behind the Greek and Roman Courts, casts
from the Elgin frieze of the British Museum,[4] for the express purpose
of showing how it might possibly have been coloured.
Footnote 4:
The casts obtained from the British Museum were first fixed in their
place; the missing portions were then supplied, by inserting casts of
portions of the frieze found perfect in other parts of it. Thus, when
a head, hand, or foot was wanting, a cast was taken of a head, hand,
or foot, where found perfect, and then inserted. So that this frieze,
although not an absolute reproduction of the original, is as nearly as
possible all Greek. This restoration was confided to Mr. Raffaelle
Monti, assisted by Franz Mitterlöchner and Andreas Grass.
[Illustration]
That it was coloured in some manner or other there can be no manner of
doubt, and we think that any unprejudiced person who will examine the
portion of the frieze in white at the end of gallery, with the known
painted ornament above and below it, will at once admit this. There are
other considerations which would lead one to imagine it destined to
receive colour, even had no traces of colour been found on the
architecture above and around it. As there are still many who believe,
and will believe against all evidence, that this frieze never was
painted, I must bring forward some arguments which appear to me so
strong as to render the idea of its colourless state impossible.
This frieze in the Parthenon is 40 feet from the ground to the centre of
it, and in the position A on the section (p. 17), whilst our experiment
is only 16 feet, to the centre of the bas-relief: to be seen at an angle
of 45°, the eye of the spectator must have been at least 60 feet from
it: now only let the visitor stand at this distance from the portion of
our cast that remains in white, and he will see how little of the detail
is visible to the eye.
[Illustration: Section showing the position of the Panathenaic Frieze.]
Let him place himself at the same distance from the portion of frieze
which I have painted, and he will see how visibly colour develops form.
How many thousands pass daily the Athenæum Club in Pall Mall and are not
conscious that there is above their heads a copy of this divine work of
Phidias; if this were coloured (as it ought to be) who could pass by and
escape it. The frieze in the Parthenon could not have been seen without
colour as distinctly as the copy on the Athenæum Club, as it was under a
portico, and in shadow.
People are apt to argue that Phidias never could have taken such pains
to study the light and shade of this bas-relief if the fineness of his
workmanship had had to be stopped up when bedaubed with paint.
Now people who argue thus have never understood what colour does when
applied to form. The very fact that colour has to be applied, demands
the highest finish in the form beneath. By more visibly bringing out the
form it makes all defects more prominent. Let any one compare the
muscles of the figures in white, with the muscles of those coloured, and
he will not hesitate an instant to admit this truth. The labours of
Phidias, had they never received colour, would have been thrown away; it
was because he designed them to receive colour that such an elaboration
of the surface was required.
My attempt is seen under every disadvantage; it is too near the eye and
too near the light; and it is painted on a material which is most
ungracious for the reception of colour. The minute undulations of marble
always lose something in a plaster reproduction, but when the plaster
has further to be painted with four coats of oil paint to stop the
suction, it may readily be imagined how much the more delicate
modulations of the surface will suffer.
I have preferred, however, to put forth this experiment with all its
disadvantages, than attempt to soften the asperities by any artificial
arrangement, convinced that if it can find some favour in its present
position, it would gain immeasurably by being seen in a position
analogous to that occupied by the original.
It will be seen further on that no traces of colour exist at the present
time on these marbles. They were moulded in Athens prior to their
removal to this country, and whatever colour they may have then retained
disappeared during the cleansing of the marbles by soap-lees, after the
process of moulding.
We are therefore driven to the remains of colour on other monuments, and
to analogy for the proposed restoration of the several colours.