MATERIAL EVIDENCE.

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]

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 foundmanypieces 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 rosettehad 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.”

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.”

(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.

“Every truly yours,

(Signed) “M. Faraday.

“T. L. Donaldson, Esq., &c.”

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