We now come to the Greeks. Hellenic art must have partaken of the
composite character which is manifested in Hellenism generally, and
which is so well expressed in the Grecian mythology.
As the beautiful marble, which forms the cliffs and coasts of Greece,
notwithstanding its homogeneous transformation, betrays by veins, by
fossils, and other indications, its sedimentary origin, so Hellenism,
although it may appear homogeneous, and cast—so to speak—in one single
jet, betrays, nevertheless, its secondary origin, and the sediment which
constitutes its material groundwork.
It would be important to follow up these vestiges of rudimentary
Hellenism, since they might enlighten us on certain phenomena in
Hellenic art, which have been up to the present time inexplicable
without them.
This applies especially to the polychromy of Greek edifices. Much yet
remains to be done in this department of Art History, which has been
generally discussed either by learned men but no artists, or artists
with little learning. The vestiges of rudimentary Hellenism of which I
speak, wherever visible, present the same features that we meet with in
Assyria, Egypt, and China, and even among savage races; but it would
appear that the Greeks, prior to treating in their peculiar manner those
principles of art which they inherited, had partly forgotten their
origin and their material or hieratical meaning. Thus, only, could they
have had the mind free, and ready to commence them anew with an artistic
and poetical feeling.
Exactly the same thing occurred in their mythology, which is only poetic
fiction based on traditions and fables, partly native, partly foreign,
the primitive meaning of which was no longer understood by the poets,
who formed them into the groundwork of their cosmogony.
The system of Greek polychromy is the richest of all those of antiquity;
but it is, apparently, based neither on a principle of construction or
material as among the Assyrians, nor on a hierarchical principle as
among the Egyptians. The most striking oppositions of principle are
found united in it and harmonised, a more artistic and elevated, but
less positive conception. Nevertheless, this applies only to the
edifices of a period when art was in a state of high development among
them, since the ancient Doric system appears to have had much in common
with Egyptian art before it was penetrated by Ionian influence, which
depended rather on Asiatic traditions.
I am convinced that the style of Doric polychromy was essentially
different to that of the Ionic, which was, notwithstanding, of equal
antiquity and originality.
Doric polychromy was based on the Egyptian system, whilst that of Ionia
was based on Asiatic models. The first named was lapidary; the colours
were detached on a whitish or yellowish ground; there was no gilding,
and the use of blue was common, that being the holy colour of the
Egyptians (a turquoise blue), the symbolic colour of the priesthood and
aristocracy.
The second was more primitive in its nature and recalled more directly
the elementary motive of _tapestry_ and _embroidery_. The ground was
generally of a rather deep colour, blue or red, even in the constructive
portions, such as the shafts of columns, architraves, &c., a good deal
of gilding and sea-green (prasinum) was used; the favourite colour of
the Assyrians, the symbolic colour of absolutism and of democracy. The
green is still now the holy colour of the successors of the Assyrians in
Asia.
This difference of style, analogically observable in the music of these
two races, explains the divergent investigations made on the temples of
Sicily, and those of Athens. The monuments of Athens, Doric in their
general appearance partook, nevertheless, a good deal of the Ionic
character. The Ionic mind had penetrated Doric matter, and colour being
the least material was that which the Ionian sentiment most easily
mastered.
It would be a difficult but very interesting task to unravel the
religious and political signification of certain colours in ancient
times. We know that red, blue, turquoise, and sea-green, were the four
colours by which the factions of the circus distinguished themselves.
These were not capriciously chosen, each faction having adopted that
colour, the symbolic and traditional meaning of which agreed with the
political principles professed by it.
Traces of the antique system of covering construction with tables of
wood, plates of metal, or slabs of stone, representing tapestry-work,
may still be perceived in the Grecian monuments, for those parts of them
which were destined to be ornamented with historical paintings or
painted sculpture, are executed in the Assyrian fashion; as, for
example, the tympanums of the pediments, the metopes, the friezes, the
parts between the columns, and round the walls of the “cella.” It is
thus that Grecian monuments show us the fourth path which architecture
made towards stone style.
The constructive parts of the building, that is to say, those parts
which constituted the entablature of the roof, and its supports, _the
columns_, were painted with the colour of the Greek vases, viz., a very
transparent and vaporous brown-red. The walls, inclusive of the
“_antæ_,” which formed only projecting parts of the walls, were of a
blue, which was broken by black and a little yellow, and not very dark.
This colour formed also the ground for most of the sculptures, except
the metopes, which I believe had red grounds. The red in the ornamented
mouldings was a very bright vermilion, differing from the red of the
ground by colour and treatment.
The same is the case for the blue, which, in the ornamented mouldings,
is deeper than on the large surfaces, and tinted in different shades.
The _oves_, or eggs, for instance, were blue, with a darker blue tint
around.
The green is a colour which occurs frequently on the Athenian temples,
so on the leaves on the moulding which runs under the frieze of the
opisthodome of the temple of Theseus, and between the red and blue
leaves of the capitals of the antæ. The same sea-green occurs on the
draperies of some sculptured figures.
The enamels of wax were frequently covered with washes of thinner
colours. This has not been remarked by our restorers of antique
polychromy, but is nevertheless necessary for giving softness to the
general effect.
The ornaments, as I have just observed, are placed in pieces and
soldered together; the solderings forming fillets slightly elevated from
the surface and of another colour. I cannot say whether in gold, black,
or even in some parts white. I have, for my own part, adopted the
hypothesis that it was gold in the Athenian temples, but not on those of
Sicily where a strict Doric character prevailed.
I have not found many traces of colour on the Ionic temple of Minerva
Polias, and cannot say if the red, which I found on the columns of the
Northern Portico, belonged to the ancient colouring, or was of more
recent date. On the plate, in my work, which gives a panel of the temple
of Theseus, is seen the design of a row of pearls, with a double range
of disks.
I can guarantee the exactitude of my observations, although this extreme
richness and smallness of detail in an object destined to be seen from a
distance may well astonish us.
I have traced every mark on the stones themselves: and, moreover,
subjects of this kind are not capable of being invented; indeed it would
be a great compliment to suppose me capable of inventing these designs,
which I consider charming.
In the portion which I have found in the wall with the niche (see my
work), these details are not to be seen. I have also discovered traces
of colour, very much effaced, on the small choragic Monument of
Lysicrates, which I have carefully examined. It appears that on the
ornament which surmounts the roof, there was a variety of blue and red,
and that the acanthus leaves were coloured green. The tripod was not
placed upon this ornament, but round it, the feet resting on the three
volutes which descend from the roof, analogously to the marble tripods
which are often met with in various museums of antiquities.
I will not speak of the colours of the Parthenon, which are not so well
preserved as those on the Temple of Theseus, but the traces of ornament
which decorated that temple are seen by the incisions still remaining.
It would appear that the system of ornament there applied was similar to
that on the Temple of Theseus.
Some years after my sojourn at Athens, portions of this building have
been excavated, with the colours very well preserved; as well as other
fragments of architecture which belong to the old Hecatompedon
(destroyed by the Persians) covered with painted stucco.
I have not found very decided traces of the colours employed on the
Temple of Minerva Polias; the columns appear to have been red, as at the
Temple of Theseus. The ceiling of the Temple of the Caryatides had
painted frets and orvolos, which I have traced; but the colour was no
longer visible. Traces of painted ornaments are to be found also on the
Tower of the Winds. I have not been able to get a close view of them.
As regards the sculptures, I have found some regularly encrusted with
colour. I have found green (prasinum) on the tunic of one of the seated
goddesses, on the frieze of the Temple of Theseus: another figure was
clad in a vestment of a deep rose colour. The Caryatides of the
Erectheum had blue tunics. We may see that, even on the one in the
British Museum.
Mr. Bracebridge has described statues which were excavated in his
presence near the Parthenon with flesh tints and painted eyes. The
figures of the pediment of the Temple at Egina still retain traces of
the colours with which they were decorated. The same observation applies
to the metopes of the temple at Selinuntum, now at Palermo. Curious
fragments of painted architecture may also be seen at the museums of
Syracuse and Girgenti.
The Romans painted their white marbles, like the Greeks. The three
columns of the Jupiter Stator in the Roman Forum are painted red on that
portion which has remained a long while buried.
The Trajan Column, which I have examined, retains traces of colour and
gilding: the entire column had been once covered with a rather thick
coating of colour, in which I recognised green, blue, and yellow; but it
is probable that this last was the remains of the gilding.