In 1836 a committee was appointed by the Royal Institute of British
Architects, to examine the Elgin Marbles in the British Museum, in order
to ascertain whether any evidences remained as to the employment of
colour in the decoration of the architecture or sculpture.[5]
Footnote 5:
Extracted from the report of the committee, published in the
Transactions of the Royal Institute of British Artists, Vol. I. Part
II. 1842.
This committee consisted of Mr. Hamilton, Sir Richard Westmacott, Sir
Charles L. Eastlake, R.A., Mr. Cockerell, R.A., Dr. Faraday, and Messrs.
Angell, Donaldson, and Scoles. The committee found on several
architectural fragments from the Erectheum and the Propylaea of Athens,
traces of ornaments which had been engraved with a tool on the surface
of the marble, and also verified a difference of texture in the parts
occupied by the coloured surface from the ground, but were unable to
decide “whether the parts now smooth and rough were originally in that
state, or whether the part now rough has become so in consequence of the
action of the atmosphere upon it, the smooth part having been protected
from that action by gilding or colour.”
No traces of colour were discovered on any of the figures of the
bas-reliefs, metopes, or sculptures of the pediments, but it was stated
to the committee by Mr. Sarti, the modeller, who was engaged in taking
moulds of the whole series of the Elgin Marbles belonging to the
Parthenon, “that the whole surface of the marbles had been twice washed
over with soap leys, subsequently to their having been moulded on former
occasions, as that or some other strong acid is necessary for the
purpose of removing the soap which is originally put on the surface in
order to detach the plaster of the mould; Dr. Faraday was of opinion
that this circumstance was of itself sufficient to have removed every
vestige of colour, which might have existed originally on the surface of
the marble.”
A letter was read to the committee, from Mr. Bracebridge, “forwarding a
memorandum of colours and patterns from the Erectheum; they are drawn
from the northern portico of that conjoint temple of Minerva Polias,
Pandrosus, and Erectheus, so well known in the Acropolis. This side of
the temple, being so well sheltered from the sea breeze, has preserved
its sculptured ornaments as fresh and sharp as if lately finished; and
the columns of this portico, being fluted with capitals elaborately
worked and well sheltered, have retained remains of colour. At the top
of the flutings especially, a thin coat of slate-coloured paint is
visible, at other points yellow and red colour may be traced; but the
remaining pieces are so small and the colours so much faded, as to leave
the subject in dispute; this being alone certain that there was once
colour carefully applied (at all events, to the entaglio parts of the
relief or concave parts of the capitals, &c.), and that this colour was
of various shades; the protuberant part of the work retains no colour.
The probability that blue, red, and yellow were used is very strong.”
Mr. Bracebridge further states, that “in the winter of 1835–6, an
excavation was made to the depth of twenty-five feet, at the south-east
angle of the Parthenon; here remains were found of huge blocks of marble
fresh from the quarries, chippings, &c. &c.; and below these, fragments
of vessels, pottery, and burnt wood. No one who saw these could doubt
that a level was dug down to below that where the workmen of the
Parthenon had thrown their refuse marble, in fact the level of the old
Hecatompedon, of which possibly the burnt wood may have been the
remains.
“Here were found _many_ pieces of marble, and among these fragments
parts of triglyphs, of fluted columns, and of statues, particularly a
female head (the hair is nearly the costume of the present day).
“These three last-mentioned fragments were painted with the brightest
red, blue, and yellow, or rather vermilion, ultramarine, and straw
colour, which last may have faded in the earth.
“These curious specimens are carefully preserved in the Acropolis, but
much fear is entertained of their retaining the brightness of their
highly contrasted colours for any length of time. The colours are laid
on in thick coats. The female face had the eyes and eyebrows painted.
When we consider the brilliancy of Pentelic marble when fresh worked,
there appears a reason for using colours beyond that of imitating the
usages of Attica, in more ancient temples, namely, that the minutiæ of
the work in many parts would have been lost to the eye amidst the
general brilliancy.”
The committee finally concluded that “Upon a consideration of all the
facts in the preceding minutes, it appears to the committee, that there
remain no indications of colour artificially applied upon the surface of
the statues and bas-reliefs, that is upon the historical sculpture.
That, according to Dr. Faraday’s opinion, those portions of the marbles,
which, from the tone and surface might be supposed to be the result of
colour applied thereon, are the original surface of the marble, stained
by the atmosphere, the presence of iron in the marble, or by some such
natural cause. That some of the architectural fragments present
indisputable traces of tone, indicative of regular architectural
ornaments, and the outlines of such ornaments are distinctly traceable,
being marked with a sharp instrument on the surface of the marble.
“The committee cannot positively state, from the appearance of the
marble, that such tones have been produced by colour, as they think that
none of the colour itself remains, but that the indication of tone
results from the mere variation of surface. Judging, however, from the
information contained in Mr. Bracebridge’s communication, there appears
no reason to doubt that colour has been applied. This is confirmed by
the portions of coatings brought from Athens by Mr. Donaldson, and
analysed by Dr. Faraday, who has detected frit, or vitreous substance,
and carbonate of copper, mixed with wax, and a fragrant gum. This
analysis proves that the surface of the shafts of the columns of the
Theseum and other parts of the edifices from which these coatings were
taken, were covered with a coloured coating. The glass eyes also of the
Ionic capitals of the tetrastyle portico of the Acropolis, at Athens,
prove, that various materials were employed by the Athenians in the
decoration of the exterior of their marble buildings.
“But although the statues and bas-reliefs of the Parthenon, at least
those portions of them preserved in the Elgin Collection, do not afford
any evidence of the use of colour, yet there is a constant repetition of
small circular holes in the horses’ heads and manes, and in one hand of
each rider, showing that there had been originally bridles and straps to
the horses, either of metal, leather, or some other similar substance.
Similar holes are perceptible in the statue, No. 94 (in red), of
Proserpine, one of the two female figures of the eastern tympanum of the
Parthenon, called also the Seasons or the Hours; they are in the arm,
just above the wrist, apparently for the purpose of attaching bracelets,
and in the shoulders at the junction of the drapery, as though a metal
rosette had been affixed there. On the neck of one of the Fates, No. 97
(in red), are also two holes, which seem to have been for a necklace. In
the back of the torso of Victory, No. 96 (in red), are large holes, in
which it is supposed bronze wings were fastened. No. 101 (in red) is a
fragment of the upper part of the head[6] of Minerva; the sockets of the
eyes are hollow, and were evidently filled with metal or with coloured
stones, and holes remain in the upper part of the head, affording a
presumption that there was originally a bronze helmet attached to the
marble. The angles of the ægis of No. 102 (in red), which is a fragment
of the statue of Minerva, one of the principal figures of the western
pediment, are drilled with holes, by which the metallic serpents were
attached, and in the centre a head of the Gorgon.”
Footnote 6:
“This fragment alone may perhaps be considered as an exception to the
previous statement, that there are no evidences of colour on the
statues or figures of the Parthenon. The hair appears to have a red
tint, which becomes distinctly apparent upon the application of
water.”—_Note of the Committee._
(Signed)
“THOS. L. DONALDSON, Hon. Sec.”
The following is the report which was laid before the committee, from
Dr. Faraday, upon some portions of coatings of marble taken from several
buildings, at Athens, by Professor Donaldson.
“MY DEAR SIR,
“I return you the box, with the remains of the samples.
“A. Portion of coating taken from the antæ of the Propylaeum.
“The blue produced by carbonate of copper: wax being mingled with
the colour.
“B. Portion of coating taken from the soffits of the mutules of the
Theseum.
“The blue is a frit or vitreous substance coloured by copper. Wax is
present here.
“C. Portion of coating taken from the columns of the Theseum.
“I am doubtful about this surface. I do not find wax or a mineral
colour, unless it be one due to a small portion of iron. A fragrant
gum appears to be present in some pieces, and a combustible
substance in all. Perhaps some vegetable substance has been used.
“D. Portions of coatings from the caissons or lacunaria of the
Theseum.
“The blue is a copper frit, or glass, with wax.
“E. Portions of coating from the northern wing of the Propylaea.
“The colour a carbonate of copper. Wax is present.
“F. Ditto, ditto (north wing of the Propylaea) as E.
“I also return you the drawings and letter.
“Every truly yours,
(Signed) “M. FARADAY.
“T. L. Donaldson, Esq., &c.”
ON
THE ORIGIN OF POLYCHROMY IN ARCHITECTURE.[7]