For a long time, the teachings of aesthetics established the principle that the essence of Greek architecture and sculpture solely and exclusively in the form, which is based on the interplay of spatial relationships; that the eye is not was only allowed to absorb these conditions through the lines of the outline and the gradations of light and shadow, as such can be seen on colourless bodies; that the use of colour in the above mentioned arts is something quite un that some of the things that should be discarded had to be done. The fact that paint residues are attached to a In the case of the Greek monuments of Greek art that have been preserved in the past, the ancient authors have found that polychromy of this kind is often referred to, if this was not taken into account, or it was declared to be the remnant of an ancient barbarism recorded by priestly statutes, or they went so far as to attribute the traces of paint that are still present to the later barbarism of the Middle Ages. The advocates of this view - the Wäimar art lovers in particular were among them - have not yet left the scene. On the other hand, those witnesses of ancient polychromy, which cannot always be completely denied, have for several years already found their pagans. The most famous of these was Quatremere - de - Quincy, who, twenty years ago, with his magnificent work on "Olympic Jupiter", first broke new ground in a new view, in that he more clearly demonstrated the multiple use of toreutics by the Greeks and, like polychrome sculpture in general, sought to defend and appreciate it. However, the extensive work is still written with great moderation with regard to the circumstances at hand. Newer ones followed his steps, new discoveries and investigations provided real or apparent confirmation and expansion of his view, and soon it came to the point that, in contrast to the older theory, one wanted to see in sculpture, as practiced by the Greeks, a complete and illusionary imitation of nature. Völkel in particular, who had not previously been able to find himself in the splendour and abundance of Phidia's depiction of the chryselephantine Jupiter at Olympia *), now stated with certainty that the Greeks of the best period not only painted their statues completely and with the various local colours, but that they even added shadows and lights to them "). Andre have signed this view. The same was the case with the studies on Greek architecture. Here, too, the discoveries of colour remnants, which were mainly found in the details, were put together, but in the beginning - in the new Issue of Stuart's antiquities of Athens, in the places designated by the 1) Le Jupiter Olympien, ou l'Art de la Scul- tique ou le Renourellement de ses Procédés mé. pture antique considéré sous un nouveau point caniques par M. Ouatremere-de- Quincy. de rue; oursrage qui comprend un essai sur le gout de la sculpture polychrome, l'analyse erpli- 2) Ucber den grossen Tempel und die Statue des and the history of the Sta- Jupiter zu Olympia, S. 166 u. a. tion of the Golden and Iroire Stations of the Greeks and the Ro Hands, arec the Restitution of the Principaur Mo- 3) L. Völkel's archäologischer Nachlass, herausgenuments of this Art and the Demonstration pra- geben von K. O. Müller. I. Heft. S. 82. of the Dilettanti published antiquities of Attica and others. - left at the simple indication of the factual content. With a complete system of polychrome architecture Hittorff") appeared first. In the investigation of Sicilian monuments, the latter was opposed by a much more extensive use of colour; he associated with it what Andre had found in Greco-Greek, Etruscan, Attic, etc. He combined what Andre had found in Greco-Greek, Etruscan, Attic, etc. monuments with his own hypotheses, and from this he created a whole which at least did not lack the applause of French art connoisseurs *). Mr. Semper has recently expressed himself even more decisively *), by claiming, based on his own studies in Greece, to have discovered a complete colour coating on all, even the noblest monuments of the Periclean period, and he will soon announce the publication of these monuments, restored according to a common system, with their paintings. Mr Semper, on his return from Greece, presented in Berlin, in various circles, a large part of these restorations of his, certainly most ingenious, and it may be said that, at least among the younger generation, he aroused a formal enthusiasm; the forms of Greek architecture only now seemed to become comprehensible, only now did they seem to come together to form a moving, living whole. Of course, one might not have had a clear idea of how Old Hellenic sentiments, customs and nature relate to the modern, shapeless and colourless North, which uses greater means to revive the North. According to these hints we find on the one hand decided denial and rejection, on the other hand decided recognition and value estimate of the polychromy. Considering the great importance of the same for the 1) Polychröme architecture in the Greeks or 2) Vergl. Public session of the free society of the complete restitution of the temple of Emedocles, fine arts, on the 25th. December 1831. p. 20 sqq. in the acropolis of Selinunte, in den Annali dell' instituto di corrispondenza archeologica. Yol. 1/. 3) Vorläufige Bemerkungen über bemalte Architektur p. 263 ff. - und Plastik bei den Alten. In view of the significant influence that Greek art exerts and must exert on our times as a school"), an unbiased discussion of these controversial opinions seems very timely. The intention of the following lines is to present one. We will simply juxtapose the news of the ancients on this subject with the investigations of more recent researchers and try to see if a sufficient result can be obtained from this. We will consider architecture and sculpture, which are in a necessary connection with each other and complement each other, in this connection, but the same, the lighter For the sake of clarity, consider separately. 1) However, we do not want to forget the epigram of the bandage of leukothea. If a rich dark red appears, it is assumed that the grounding of a lost gilding has been found in it*). The gutter strip of the gables is decorated with eggs and arrowheads. On the ionic capitals of the inner column position the cushions of the side view were painted with scales and acanthus tendrils; also, according to Mr. Schauberts statement, the same ones seem to have had a neck, like the columns of the Erechtheum, but not plastic, but only decorated by painting *). On the northern side building of the Propylaeum there are similar paintings of sections as in the interior of the main building. The Erechtheum (Temple of Minerva Polias). As far as this building is concerned, which is executed with the most delicate grace, we are almost completely lacking certain information about any colored decoration that may still be present. Inwood shares the fragment of a cassette, which was surrounded by a painted meander *). In the interwoven puddle, which is located in the capitals of this temple between the channel of the snails and the echinus, coloured stones or coloured glass, alternately red, blue and yellow, were inserted in certain spaces *). The remains of metal nails in the channels between the channels, in the deepened eye of the snails, as well as on the sides of the capitals, prove that originally another ornament was placed here *). That an ornamentation of the snail's eye on the ionic capitals was not unusual in the heyday of Attic art is proven by other beautiful fragments healed by Inwood. One of them has a sharp hole in the center of the eye, obviously to attach a special ornament; two others have their eyes decorated with delicate eight-petalled rosettes °). On the upper strip of the architrave of the caryatid hall, round bowls are carved; the lines on one of them also indicate a more important decoration intended for it "). - Still to be remembered are some columns of green marble found inside the Erechtheum, one of which has been standing for about thirty years in University Library of Cambridge *), the other recently by Semper at 1) The antiquities of Athens, Thl. II, c. V, note of the Temple of Minerva Polias at Priene in 32nd - Dodwell, tour etc. Y. 1, p. 320. small asia shows itself in the eye of the snails a 2 museum a a. O. sharply drilled hole. See the antiquities of 3) The Erechtheion of Athens by H. //. Inwood, Jonia, Thl I. c. II, T. VI. T. V. 7) The Antiquities of Athens, op. cit. Note 50. 4) The Antiquities of Athens, Thl. II, c. II. Note 8) E. D. Clarke: Greek Harbles brought from the 42nd by Stakelberg, the Temple of Apollo at Bassae shores of the Eurine, Archipelago, and Mediin Arcadia. p. 34 - terranean, and deposited in the Westbule of 5) The Antiquities of Athens, op. cit. the public library of the Unirersity of Cam6) The Erechtheion of Athens, T. XA III, ATXY, bridge 1809. AXA III - Also on the ionic capitals opportunity of an excavation has been discovered *). We regret that we do not have more detailed information or drawings of the formation of these columns, to be sure that they are not due to a later change from the Middle Ages. We must at least assume with certainty from the Parthenon that the column fragments of red porphyry and green marble discovered by Dodwell inside *) are due to the conversion of the building into a Christian church, which Tavernier tells us is supported inside by very beautiful columns of porphyry and black marble *). The latter expression of this traveller, who is not very precise in the objects in question, should not offend anyone *). The ionic temple at I1issus. Here the upper strip of the inner three-part architrave was painted with an excellently beautiful, somewhat strict palmette decoration °). The choragic monument of Lysicrates in Athens also shows various remains of painting, especially on the wreaths of the coronation, whose leaves were alternately coloured in different green and red. Likewise, traces of colour have been preserved in the Windet hurm on one of the inner cornices *). The outer propylae of the temple of Ceres at Eleusis. From this copy of the Athenian propylaeas remains of colours are found on the coffers of the ceiling. They contained green and red coloured stars (without darker background) and egg ornaments of similar colour on their upper surface. Also the front bricks of this building were originally painted "). Outlines of the stars have also been discovered in the cassatures of the ceiling of the inner propylaeum *). The larger temple of Rham nus. Here again very rich traces of coloured ornaments have been preserved. Similar - as in the Theseus temple of Athens, show 1) Preliminary remarks, etc. p. 12. note 4) It is possible, however, that those of Dodwell he mentioned fragments also refer to the columns of Jas2) Dodwell, tour etc., Y. 1, p. 331. pis, the deco of the church from the nave sonder3) Yoyage de Perse, l. III. - It is known that ten, and to the porphyry columns of the tabernacle of Stuart the traces of these columns of the Christian above the altar, whose wheels (medieval construction for those of the ancient Hypä- yage de Dalmatie, de Gréce etc.) are used to support the church. Vol. II, c. II, thral institution, Cockerell, on the other hand, mentioned again in p. 325). 5) The antiquities of Athens, Thl. I, c. II, T. VIII. These were only 16 and from larger ver- (German edition, vol. II, T. 2) as required by the hypäthron. 6) Museum op. cit. No. 33, p. 262. (Cf. the Athenian Antiquities, Thl. II, c. 1, 7) Unedirte Antiquities of Attica, C. II, T. X. and Note 27 and Bröndsted, Travel and Investigation, T. VIII, 5. in Greece, II, p. 293. 8) Thereupon C. III, T. VIII, 1. At the crown of the peristyle wall of the chapel there are wide bands, the lower one of which was decorated with a meander, the upper one with a palmette ornament; above each of them there are overturned links painted with leaves. Remains of paint have also been found on the coffered ceiling; the background was, it seems, blue with golden stars. The outlines of the foliage decoration can also be seen in the capitals of the antenes, which are modelled exactly on those of the Parthenon. The gutter moulding of the pediment, continued here at the same time on the long sides, also had a coloured decoration that protected the marble from the influence of the air, so that it now appears in a quiet relief *). – From the foregoing, it can be seen that the traces of colour found on the Attic monuments, the most beautiful products of Greek art, appear essentially only as a decoration of the architectural elements. We have already indicated, however, that some people also speak of the traces of a former painting on the architraves, the outer walls of the chapel, the columns of the temple of Theseus; indeed, Mr. Semper states categorically that the monuments were completely covered with paint, so that even in the places where white paint was intended, for example, the white marble did not appear at all, but also an applied paint*). This statement, which is in marked contradiction with the written testimonies of the ancients, requires closer consideration. The colour which the pentletic marble of the Athenian monuments shows at present appears in significant masses as a beautiful, almost reddish golden yellow, in the angles and corners as a dark black; and this colour is not, as has been assumed up to now, a change in the surface of the stone caused by time, but the rest of the former colours are covered; under the crust one finds the freshly preserved original colours in places. The latter is certainly correct for the individual parts of the set mentioned earlier; the generality of the set, however, is not in any way proven by various statements made by other travellers. Thus Dodwell *) describes to us in detail the different gradations of the colour in which the Parthenon appeared in his time: the west side as ochre-coloured; similarly the east side, on which however some parts of the columns were black, which he attributes to the smoke from nearby huts; the south side at its brightest and most completely in the original white of the stone. The south side however is known to be 1) The same. C. VI. and Studies in Greece, II, p. 145, 2) op. cit. p. 19, note - Already some years ago note 4. also has Bröndsted, although still half past one 3) Tour etc. H. 1. p. 54. selnd, implied such an opinion. S. Travel - - - - of all Athenian buildings are most protected from the influences of the weather; so why should the colour have escaped more here than on the east and west side? - We are told that the characteristics of the shields on the architrave of the Parthenon were that their surface was less penetrated by the yellowish-red colour of the marble in question, as the shields protected the stone from the air for several hundred years *). According to Semper's theory, however, one would necessarily have to assume the opposite phenomenon, namely that the areas of the architrave that were under the shields would have received a purer coating of paint. It is then said that the assumed crust of paint has the appearance of a solid glassy enamel and is of considerable thickness; the thickness and brittleness of this paint cover alone demands that the whole monument has been covered with it, since in the opposite case the paint would very soon have flaked off at the heels. Also the correctness of this observation, or at least the conclusion drawn from it, is not confirmed in the reports of other travellers. At the mentioned temple at Rhamnus and other monuments, on the contrary, on the sides of the ornaments applied by paint, the stone was found eaten by the effects of air or earth, while the once or still coloured parts remained intact ?) The same phenomenon was repeated on statues, some of which were painted with encaustic colours. It has also already been remarked by K. O. Müller against this theory of marble painting that, according to the well-known building inscription from the Erechtheum, the surface of the walls was only polished in its entirety when they were built up from the stone blocks; but that such a polishing would have been useless if their shine had been destroyed again by a coat of paint *). Even more important to us, with respect to the Erechtheum, is the fact that here the frieze was made of grey Eleusinian stone and covered with a stucco coat: this part, in contrast to the rest of the building, appears to have been calculated on the basis of a colouring which, as we later discovered, is the same as that of the rest of the building. is to be assumed everywhere on the Friesians *). 1) The antiquities of Athens, Thl. II, c. I, note 75; that it was 2) compared to what is said in the Attica Antiquities, it was tried to replace the theurer marble at C. VI, note 5, and that it was subsequently covered with a white, marble-like stucco because it did not correspond to the marble 3) Göttischer gelehrte Anzeiger, 1834, August, pp. 1390 f. That the 4) Quite untenable is the reason, which is not as white in the Old Eleusinian stone as the Marthuim of Athens (Thl. II, C. 2, note 41) in mor, one had to see rightly already before reference to the application of this Eleusinian bar. How little is certain at all about the perception of a certain colour on the larger surfaces, can be seen from the fact that, as we noted above, the cell walls of the Theseus temple are indicated by Semper as blue, and by Schaubert as yellow. So as long as no formal expert opinion by chemists has recognized the gold color of the Athenian monuments as the residue of a real color coating, - and we doubt that such a color coating will occur - we cannot agree with the theory mentioned. Thus, the reasons why the Greeks sought marble in particular for their presumably colourful splendid buildings - because it was more perfectly workable, made the otherwise necessary stucco coating unnecessary and the colours shinier, more transparent and more durable - coincide by themselves. Even more untenable, however, is the conclusion that because the Greeks placed great value on the preciousness of the material, even the invisible content of the material had to correspond to its external lustre. This assumption does not seem to be particularly well founded in the nature of the human mind. Incidentally, the story which Semper refers to in support of his view, that Phidias preferred ivory to marble for the statue of Minerva in the Parthenon, but the Athenians preferred the latter because it was more precious *), proves the opposite; the ivory was not to be put into the statue, nor was it even to be made of it in a massive way; it was only laid as a thin coating over another core. - But if you just declare white marble temples to be ugly, it is a matter of taste. So we can only follow those reports which speak of the painting of individual details on the Attic buildings. However, as far as their authenticity, in relation to their simultaneous origin and the construction of the monuments, is concerned, we repeat here with fullest appreciation the words of Semper: - that the painted decorations on the Greek monuments are in the highest, most perfect harmony of character and execution with those depicted vividly on them and with the whole; that only from the best Attic art period could formations of such excellent, exact and delicate drawing come forth *). Let us now look at the other Greek monuments. Monuments of the Peloponnese. The temple of Apollo at Bassa e in Arcadia should, according to v. Stakelberg *), show traces of paint inside. However, he mentions only the captain of the Corinthian column, where the smooth base of the chalice shape, between the large leaves and the flowers, is filled with a double row of painted irises - similar leaves 1) Walerius Marimus l. I, e. I. Ertern. Erempl. 3) The temple of Apollo in Bassao, p. 33. 2) Semper, op. cit. p. 19. 3 * the abacus was decorated with a painted meander. However, the remains of paint were no longer noticed: "by penetration of a corrosive stain, the decorations seem to have been etched into the smooth surface of the marble, leaving a roughness and depression that still distinguished them from the ground"*). This indication is striking; in general, as we have just noted, the encaustic paint applied has hardened the stone even more, in reverse. Should those indentations here perhaps, instead of the colour, be reminiscent of applied, perhaps metallic, ornaments? Unfortunately, the demise of this highly strange captain has also prevented new investigations in this respect. Of the Doric temple ruins at Corinth, whose columns were covered with stucco *), only v. Stakelberg reports that this stucco is an imitation of granite *). This is striking in view of the true character of Greek art; it was only with the Romans (we recall the passages quoted from Pliny and Seneca) that this affectireness with seemingly precious materials came to the fore. Perhaps, however - if this statement is correct at all - one can only think of a reddish-brown colouring of the columns, without any further imitation of a special material; perhaps this ruin does not belong to such a high antiquity as is usually attributed to it. We will come back to the latter point later. The temple of Minerva on Aegina, which consisted of a yellowish limestone, also had a fine stucco cover *); only the main cornice and the roof were of marble. The overturning limbs on the main cornice and the gable crown were painted with leaves, alternately green and yellow [or blue and red, with white edges *) ], the gutter mouldings with a palmette ornament *), the front tiles with a flower (red, yellow and a greenish paint ?)], the architrave band red, the straps and drops blue. The tympanum of the gable, in front of which the statues, also with traces of colour, stood, was light-blue. The cella, to be closed according to individual fragments, was coloured red on the outside and inside °). - – - At the end of this consideration of the monuments of the Greek motherland, a note should be considered to which Hittorff, in support the extension of polychromy in Greek architecture, which he indicated, 1) The Temple of Apollo at Bassae, p. 42. in the use of such messages on the 2) p. et al. Dodwell, tour etc. / II, p. 192. use of special colours must be. 3) A. op. p. 24, note 33. 6) Cockerell: on the Aegina Harbles, in the Journal 4) Dodwell, tour etc. / . 1, p. 568. ofscience and the arts, Yol. YI, Art. A/, pl. 1. 7) Bröndsted, Reisen und Untersuchungen in Grie5) v. Stakelberg, op. cit. p. 34 - The way, as here chenland, II. p. 146, note 5. has been "seen differently" by different people, 8) Wagner's report on the Aeginetische Bildgiebt again gives an example of how carefully one can see S. Zi7 f. is of great importance. It is a testimony of the late Dufourny, which he found, written by the latter hand, in the Royal Library in Paris, and which therefore reads: "Mr. Dod we 11 told me that he had seen in Greece several temples1 whose columns were covered with stucco, as on those of Girgenti, Selinunt, etc. in Sicily. At times this stucco was coloured, grey, red and blue, similar to that of Selinunte." *) Strange that Dodwell should have forgotten this strange phenomenon afterwards! There is not a word about it in his travel description through Greece. He does, however, commemorate the stucco cover on the columns of the temples of Corinth, Nemea, Aegina and Olympia, but does not mention the colour and compares the stucco cover on the latter two monuments with the marble *). Regarding the remains of the temple of Olympia, Fauvel *) and most recently Abel BIouet*) also mention the same. Only of the Corinthian temple we have the one statement of Stakelberg, which we also could not accept without hesitation. So Mr. Dufourny must not have heard right or Mr. Hittorff must not have read right. We have not been informed about any colour remains on the ionic monuments of Asia Minor. Sicilian monu m ente. In Hittorfs just mentioned treatise we find only very isolated hints about really existing colour remains in the Sicilian architecture. Except for the stucco covering of the columns, on which - according to the above - traces of paint seem to have been found, he generally mentions only the beams on which there is painted stucco, and especially the cornices made of harder stone, the upper parts of which are usually decorated with painted and sculptured ornaments *); also of an antechapitale with traces of blue in Selinunte"), and roof tiles, found in Sicily and in the Paestum, some of which were painted on the upper and lower surfaces (inside the building therefore not covered by a horizontal ceiling), while others contained paint only on the outer surface "). Individual monuments of which details have been reported so far are the following: The small four-columned Prostylos at the castle of Selin Unt, which Hittorff calls the temple of Empedocles and whose restoration was carried out by the aforementioned Abhan Iung is dedicated to. The ionic capital of this strange monument was made of harder stone, 1. De l'architecture polychröme etc. in den Annali 4) Expédition scientifique de Morée, pl. 71. of the Institute of Archaeological Correspondence. 5) Annali dell' instituto etc. p. 269, 271. Vol. II, p. 268. 6) Ebendas. p. 20S. 2) Tour etc. P. II, p. 192, 208; I, 568; II, 335. 7) Ebendas. p. 276. 3) The ancient monuments of Athens, Thl. II, c. I, note 52. without stucco cover; it showed various traces of colour, mainly on the plastically worked egg sticks. In the metopes of the frieze there were, apart from the "local colours" (!), very slight traces of blue and yellow; also on the architrave of red, green and blue tones ). In his splendid work on Sicilian architecture, Hittorff made a coloured restoration of the beams of this building. Here the same appears yellow in its main masses; some limbs under the hanging slab brownish-red; the plank heads and the straps with the drops (under the triglyphs) blue; the metopes brownish with an ornamentation of yellow and blue flowers; the architrave with leaf windings of green, blue and red colours on the yellow ground *). This restoration is modelled on some coloured terracotta fragments found on Acrae in Sicily*). The peripteros at the castle of Selin Unt, north of the temple mentioned above, shows a red ground in the bottom of some metopes (on whose reliefs traces of colour were also found) and a meandering band, also of red colour, on the band above *). Of the large pseudod ipteros on the north side of the eastern hill of Selinunt Hittorff shows a most strangely designed gutter border with: a wide band with rich plastically protruding palmette decoration; as crowning a turning over link with leaves; above a narrower band with a meander (also plastically) and as uppermost crown again a leaf link: all this in its restoration "painted in the most colorful way with different colors"). The peripteros on the south side of the same hill. The most important traces of paint are preserved on this temple. The exterior woodwork is presented in the following figure: The hanging plate yellow; the crowning leaf member above it colored (green and red with white edges); the strip under the plate red; the heads of the floorboards with the drops, as well as the triglyphs, blue; the metopes red, nnd the meander on the band above the metopes yellow on a red background. The colourful gutter strip above the cornice is after a copy found at Metapont in Greater Greece, but not on exact Wise. - The frieze inside the peristyle contains a wide yellowish band with bun1) Ebendas. p. 268 f. ten in Sicily, which is either faithful to a 2) Architecture antique de la Sicile par Hittorff by Mr. Hittorff restored temple et Zanth, pl. XYII. to Selinus, or this after Text about the mentioned large copper works Hitt torffs has not yet appeared. I don't know, 5) Ebendas. pl. XLVII - A copy of whether a statement by Semper authorizes us to continue the Mauch's comparative representation of the authenticity of the above Hittorff's restoration to the architectural orders of Normand; Palmette ornament (yellow, blue and red); above it a leaf crown, green and red. The beams of the ceiling are reddish; the cover plates are the same, with red bands; the egg sticks of the cassettes are yellow, blue and red; the base of the latter is blue with yellow stars*). Italian monuments. About Greater Greece we are almost completely lacking news here; we know only a few things about Metapont and Paedom. Metapont. Here, among the ruins that currently bear the name of the Chiesa di Sansone, various fragments of terracotta with baked colours have been found. Some of them belong to a gutter moulding, others to a covering of the inner framework. The gutter moulding is of a peculiar but beautiful shape, a standing wave crowned by a strap; the latter with a meander, the wave at the top with leaves (as usual on the overturned limbs) below it painted with beautiful palmettes. The entablature is decorated with a rich meander, above which a bead and egg staff, below a leaf decoration extends; on the underside of the same a richly intertwined band, edged with staffs. All these decorations are painted with red and black colours (the latter of various depths), sometimes also with yellow; the background is a yellowish white. There is a peculiar, almost gloomy seriousness in this combination of colours, which nevertheless does not lack harmony in detail. Also on the lion heads, which were found, and which undoubtedly belonged to the gutter, the manes were yellow, the mouths and eye rims red and the eye stars painted with a dark colour ?). At Paestum, in the basilica (the so-called double temple), on the strange capitals of the square pillars, traces of leaf painting have been found*). - Mr. Mauch also discovered small remains of paint on the small temple there"). The ruins of Pompeii, on the other hand, show very numerous examples of an extensive use of colour in architecture. Not only the walls behind the peristyles, but also the columns often appear painted; the latter in the peculiar way that the lower third (which is often uncanelled) is painted darker, usually blue, the upper part lighter, red or yellow. This is where the large porticoes on the main forum and on the Forum Nundinarium, the peristy1 of Venus 1) Arch. ant. de la Sic. pl. ATL. - Copie des äus- Darstellung des Ginnleistens, a. a. O. verderbt desseren Gebälks bei Mauch, a. a. O. fig. 1. sen eigentümlichen Eindruck ganz. 3) v. Stakelberg, the Apollo temple at Bassae, p. 39 2) Métaponte, par le Duc de Luynes et FJ. Debacq, 4) continuation of the comp. Darst. der architekt. Ordarchitecte, pl. VII, VIII - The Hittorff'sche nungen of Normand, p. 2. Temple west of the Forum, the columned positions in the courtyards of many private dwellings, namely in the house of the Vestals, of Acts, of Panza, of the Dioscuri, of the tragic poet, etc. Likewise, the details of the capitals and the entablature show multiple traces of painting :-). The fantastic architectures depicted in Pompeian mural paintings are also to be remembered here: those depicted in the foreground are usually yellow (sometimes with dark-coloured columns); the frieze, however, is generally distinguished by a special colour, blue or red, and decorated with yellow ornaments *). Also in Rome you can find various remains of paint on the ancient buildings. In particular, Mr. Semper has the merit of having discovered a layer of blue paint at the base of Trajan's Column, on which the reliefs winding up to the top of the column were probably highlighted by shiny gilding. An investigation carried out by a company of nine architects as a result of this discovery has confirmed the same *). There are still some Etruscan tombs to be remembered, whose interiors (as found in those of Bomarzo, Canosa, Corneto) were often decorated with painted architectural decorations*). It is worth noting the recently discovered tomb of Corneto, with its ceiling supported by a square pillar painted with tritons. Among these tritons a Doric frieze is painted: blue triglyphs on which (without a mediating band) the drops hang directly; the slits healed white and red to imitate the plastic effect otherwise present; the metopes are framed at the top and bottom by a red band and decorated with rosettes, also painted. The entire frieze of the tomb is red with white rosettes, above it a blue wave decoration and below it white tooth cuts with black spaces in between; all this also only painted. - The terracottas found in Velletri, which were used to crown a building, also belong here: plain friezes with colourful reliefs and with a peculiar of yellowish and reddish colour *). - / 1) Mazois, Antiquités de Pompéi. - Pompeiana Comp. museum, sheets for fine arts, 1833, by Gell and Gandy 1817 - 19; by Gell, 1832. no. 38. - a. o. m. 4) Monumenti inediti, pubblicati dall' Instituto di 2) Cf. in particular: tooth, the most beautiful ornaments corrispondenza archeologica Y. I, T. ALII; T. and the strangest paintings on Pompeii, Her- A LIII: W. II, T. III, IV. kulanum and Stabiae, a. m. O. 5) Inghirami: Monumenti etruschi, p. VI, tr. T. 3) Semper, Preliminary remarks etc. P. 37. - - A 4. While we found no irrefutable evidence in the Attic splendorous buildings of the most flourishing art period that polychromy had been used here in the assumed further extension, we cannot help but recognize the remains of such in Sicily *) and Italy, in a certain way perhaps also in the Peloponnese. May we now conclude from these regions to Attica and assume here only a lesser preservation of the colored decoration? A closer look at the formation of forms in the monuments of the various countries in which Greek art has become native, however, will teach us that art has modified itself in different ways according to these various regions, that we see a particular principle predominant in each of them, and that we are in no way authorized to draw conclusions from one to the other, least of all from the less gifted to the one in which art has developed most nobly. Here we are obliged to enter a field in which little has yet been worked out; we should therefore take the following digression, which is necessary to shed light on this point I apologize. Pe1a sgical, phonic and oriental monuments. Unfortunately, very little is known to us about the way in which the Pelasgian prehistoric Greece formed its architectural forms. However, the aforementioned fragment of a column found at Mycenae in front of the treasure house of Atreus*) gives us at least one remarkable example. Leaving aside the winding decoration of this fragment, it is especially the profiling in the limbs of the well-preserved base that occupies our interest here. The most prominent part of the column is formed by a strong puddle of somewhat depressed profile; above it rises another member, a horizontal hollow (according to Pomardi's drawing by Dodwell) or a slightly curved karnies (according to Donaldson), as a tarnish to the shaft of the column. A waveguide is placed directly under the pit and forms the transition to the plinth on which the base stands. There is something immensely soft in this composition of the limbs, not to say fluctuating, which meets the requirements of a strict elasticity, which we seek in the shaping of the base of the column, and which, given the importance of this part, we have every right to demand 1) Newer travellers have given us a further confirmation of this phenomenon. 2) See above p. 12; note 5. as characteristic of the architecture of which it is a remnant. We want to call this base the pelasgian one for the sake of a more comfortable overview. A certain relationship with this Pelasgian base is shown by the Ionic one, especially the old Ionic one, as we know it from the remains of the great temple of Juno in Samos"), whose reconstruction (it was formerly Doric) cannot be placed justifiably later than in the time of Polycrates, that is, considerably before the heyday of art in the Greek motherland. In this Altionic base the upper approach is missing, and the overall projection is thus considerably reduced; but the principle on which the formation of the other limbs is based is the same: a puddle and a groove, which admittedly enlarges the latter and (because of the smaller overall projection) advances under the puddle with independent force. The almost abundant canelling of both limbs, however, points back to the rich decoration of the Pelasgian base. The later, actually so-called Ionic base, which puts two smaller, not canellierte hollows in the place of the one larger and canellirten - in its different training from the Apollo temple to Didym ö and the Minerven - temple to Priene - is to be regarded only as a further training of those. On the other hand, there is no mistaking that the profile of this same Altionic base corresponds to that of the Persian base on the columns of Persepolis, on whose shafts the Ionic canellirtations are contained, as well as on the capitals the Ionic volutes (these only in a different arrangement), and the Ionic entablature in its peculiar formation (only with the exception of the Greek frieze) is found on the rock tombs above Persepolis?) And again, we cannot in any way assume that these forms were invented by the Persians, an uneducated, warlike people; they can only have received them from the Medes, together with the other elements of their culture, in the same way as they received them from the Babylonians. The complete degeneration in which these Persian forms appear, especially the confused and overloaded manner in which the volute capitals are arranged, speaks for such a high degree of antiquity. We find here, therefore, the traces of a highly ancient oriental formation of forms and a quiet train of kinship with the ancient Greek. But when the clearly formed Attic spirit applied these forms, it breathed into them the nobility and seriousness that characterized everything that was thought and formed in the happy time of Pericles. One compares primarily the taut, evenly elastic form of the Attic bases at the Erechtheum and the 1) Ancient monuments of Jonia, c. V., T. 5. 2) Ker Porter, Trarels in Georgia. Persia, Armenia, ancient Babylonia etc. P. 1, pl. 45. et al. II issus temple with those of the buildings in Ionic Asia Minor. The incredibly graceful, slightly elastic form of the Ionic antecapita1 also seems to be an Attic invention, while the, admittedly only isolated, examples of this detail on the better monuments of Asia Minor (on the propylæa in Priene and the Apollo temple in Didymö) seem to have usurpated a form that is more appropriate to the more independent pillar "). Monuments of the Peloponnese. On another side we find a reminiscence of that Pelasgian base at the bases of the Ionic half-columns inside the Temple of Apollo at Bassae in Arcadia *). Above a hollow bar of higher ratio, there is a puddle where the shaft starts with a tang of considerable projection, very similar to the upper part of the Pelasgian base. The somewhat richer composite base of the single Corinthian column of this temple also contains a related formation of forms. Unfortunately we do not know of any other examples of the Ionic order in the Peloponnese*). The outer order of the temple mentioned is Doric, but again with certain peculiarities that differ from the Attic buildings. First of all, as far as the shape of the columned capital is concerned, the profile of the Echinus is drawn in a somewhat heavier line, and the outermost point of the Echinus is equidistant from the Abacus, while the latter always protrudes a little in the Attic monuments. Also the neck has three incisions here, in the monuments mentioned only one. The same peculiarity can be seen on the columns of the temple of Jupiter in OIympia*). Also different are the antecapitals of both temples, namely in their main parts very simply formed; the lower part is only a simple wide band. Instead of of the cover plate, however, the softer form of the hollow strip appears here, and that underneath 1) The special beauty of the above-mentioned Chapter 4-29 - In Arcadia, as is well known, the Dorian migration had been preserved at Didymö, under the conditions in which most Pelasgian, after the so-called Eindasselbe, was applied there. to be denied remotely. Only CS n the 3) From the temple of Minerva Aea to Tegea in That, and there will be further confirmation Arcadia, which has an ionic finding on the outside, as if this form was also - - ristyl had served, inside of Doric order just to Priene, under conditions where and provided with a Corinthian gallery, only a light cornice could be beautiful. The there should still be some remains. At present, Roman pilaster capitals give us sufficient information about the same, but unfortunately nothing more detailed examples of such abuse. "- knows. 2) Cf. about this temple: Donaldson, in Supple- 4) Cf. Abel Blouct, op. cit. 62 - 78. on the ancient monuments of Athens, c. III; and Abel S Blouet, Expédition scient. de Morée, Y. II. pl. The profile of its upper part does not, as usual, resemble a quarter bar, but a standing wave. Whether this latter circumstance also took place at the antenticles of the temple of Bassae may not yet be pronounced with certainty*). The highly peculiar and characteristically soft combination of wave and wave returns in many different ways and applications to the ionic buildings of Asia Minor*). Likewise, the carthaginian style seems to be based on a certain relationship to Asian-Ionic monuments. sneeze-shaped gutter mouldings of the pediment of the temple of Bassae*). It seems very obvious to note that there is no particular emphasis on the differences just mentioned, since Pausanias reports that Ictinus, the architect of the Parthenon in Athens, also built the temple of Apollo in Bassae *). But this does not mean that he also sketched out the details of the forms. We have to assume, however, that, according to this simple statement, he ordered the plan of the building, the determination of the beautiful conditions similar to those of the Parthenon, and supervised the work; but we will attribute this particular execution of the details, in their correspondence with the remains of the Olympic Temple, most appropriately to a school bound by origin and statutes. A great confirmation of this assumption can be found in the news of another building directed by Ictinus, the Temple of Ceres at Eleusis"), where the work of the individual masters was of such importance that Plutarch could only have been able to carry out this work, depending on the individual Theilen, which she carried out, but does not mention the Ictinus"). 1) Although Donaldson and Abel Blouet give the er- c 3, u. Thl III, c.9] with the above-mentioned find imagined profile in the shape of a quarter staff; the author would like to put too little weight on this, however, recalls, under Mr. Semper's; in any case, however, the building belongs in a precise drawings the same as shown as a wave considerably later time, when the purity of the seen to have. Hopefully, the soon original forms will already be erased by the different appearance of the most mutual influences announced by Mr. S. no one can make this fact clear. - - - CS Ul S 3) The ionic order next to the inner propyles of Eleusis [Ancient Attica, c. III, T. III, which forms a similarly An ancestral capital of related education, only of much greater weight of the waveguide has been found on Delos and Stuart IT chair. lII, sten shows, heard, collected most of those Mlo c. 12] means the same to the Porticus des numente, a later time. The proof King Philip of Macedonia Also further down. otherwise similar formations of the limbs are at 4) Pausan. 1. YIII, c. XL1, 5. Fragments of delic architecture not rare. - 5) Vitrur, 1st / II praef. - Strabo, l. LX. The similarity that can be seen between the An- 6) Plut. in Percl YA// - of the Windethurm in Athens together with the capital of the Windethurm in Athens (en) P/u J1 / "/"/C. C. ----- the associated Stuart, Thl. I, - A peculiarity related to the Doric column capitals of those two temples is found in the remains of the temple of Corinth. Although the columns here are much sturdier and more tapered and the echinus of the captain thus has a greater load (in a line more inclined to the horizontal), this line also has the softer, heavier character and juts out at the same distance as the abacus. The neck also has three incisions, as on the monuments mentioned above. From the low proportions and the forms just mentioned, it has been concluded that this building is very old, and in general the evolution of architecture testifies to the fact that it progresses from the heavier to the lighter; but some other circumstances should not be completely ignored here. It is striking how the incisions of the neck, and especially the straps under the captain's echinus are formed"). The profile of the latter is composed only of straight lines, which corresponds as little to the softly curved form of the echinus as it does not occur anywhere else in the older Doric temples (at the castle of Selinunt in Sicily and at Aegina), on the contrary, the straight lines of the species are found essentially only in the times of the decline of Greek art. Perhaps this building can therefore be placed in a later period of art, for example in the third century B.C.G., since ancient forms, which had been found but no longer fully understood, were intentionally used again. With certainty we will be able to make the same assumption about the Minerven temple on Ortygia in Syracuse, which shows much in common with the Corinthian remains and only incomparably more preserved. The other Peloponnesian remains known to date, of Nemea, Messene, etc., in their mostly characterless forms, belong to a later period, which had already blurred the original peculiarities. Nevertheless, also here, at Messene, a recently discovered Doric temple in antis must be mentioned?), whose capitals in the strong throat-like tread under the straps remind of a special ancient motif, which shows its older models in the west, especially at Metapont. There is still a very important monument to be considered here, which, as it is situated in the immediate vicinity of the Peloponnese, is also in mutual relation with its architecture - the Minerven temple on Aeg in a. According to the style of its gable statues, it can be assumed with certainty that it is somewhat older than before the artificial flowering of the perikleischeu period. Here again the capitals of the columns have a similar formation, although the line of the echinus itself is less curved. The neck also shows the same triple incisions. Ancient and related to the older monuments, the cornice in which the is crowned by a considerably heavy overturning member and the strip between the board and the plank heads also appears to be of considerable width. Only the ante-capitale of this temple has nothing in common with those of Bassae and Olympia; this is formed in the same strict and heavy way as in most Sicilian monuments"). If we now try to determine the characteristics of the Peloponnesian architecture from the previous one (as we are entitled to do mainly because of the fame of the temples of Olympia and Bassae), we find, for the time being, a Dorism of a more serious and probably more ancient kind in the exterior of the monuments, which is particularly expressed in the capitals of the columns (the sexual characteristics of the architectural style). Everything points here,- the strongly protruding and curved form of the echinus, the triple contraction of the neck, - still an effort of strength, which has not yet become fully aware of the proportionate means to achieve its purpose. On the other hand, in the more distant parts of the architecture, in the capitals of the antenticles and especially in the interior of the temples, an oriental softness is concealed, - a remnant of the Pelasgian culture originally native to these areas, which is almost in contradiction with the Doric form. On the gable crown of the temple of Bassae, the same one has even left its mark on the exterior. Only on Aegina have these disharmonic motifs been decidedly spurned, and it this strict Dorism is shown here in greater consistency. Sici1ic and itaic monuments. The monuments of Sicily and Lower Italy generally show the motifs of a heavy, depressed Dorism, as we can imagine it at its first appearance. However, this does not allow us to attribute to all the buildings of this type a more significant age than that of the Doric style otherwise known in Greece; in several of them we find the clearest features of a later period of construction. On the contrary, we must assume that these heavy and, in some cases, semi-barbaric forms were appropriate to the character and sentiments of the people, and that in the following period, when a purer light spread from Attica, this was neither possible nor desirable. Only a few buildings are an exception in detail. As older monuments of Sicily, the two temples situated to the north appear on the Acropolis of Sel in unt*). Already its entablature is of strangely heavy form 1) Ancient monuments of Jonia. c. VI. 2) Hittorff et Zanth, Architecture antique de la Sicile, pl. AIA - AAAIA. mation. The crown is formed by an overturning leaf limb, considerably higher than half of the hanging plate. The plank heads are also of considerable thickness and unload to their front side in a diagonal line, so that they hang on the slab like a load. They are also alternately wider and narrower: above the triglyphs of 6 drops each, above the metopes of 3 drops each in width. The slits of the triglyphs do not close upwards in the well-known slight oscillation, but in a massive arch, which resembles a semicircular arch at the first temple, at the second even an ogival arch. The echinus of the capitals discharges strongly in both, in a swelling, bulging line. Underneath it a groove is formed, which is less pronounced in the second temple, but is strongly indented in the first. The reliefs in the metopes of the second temple also have something immensely clumsy and ponderous about them; but the fact that they were worked in a considerably earlier period before the sculptures of the Aeginetian temple (which, as is well known, betray a decided reference to the Persian Wars), may well be due to the fact that they were made in a much earlier period. cannot be proven by this circumstance per se. The other main temples of Selinunte show similar motifs, but in many points more moderate. At the large pseudodipteros on the north side of the eastern hill*) the echinus of the captain unloads very significantly, but already in a not unpleasant line. Here, too, a kind of throat forms under the straps of the same. But the gutter strip, which Hittorff describes as belonging to this temple, shows in the composition of its limbs the complete lack of a healthy principle. - At the column capitals of the temple, which is located there on the south side?), the upper vibration of the echinus shows a certain flattening, which in turn spoils the otherwise not unattractive line of the temple. The ante here has an extraordinarily ponderous head cornice, in that the neck of it, which shows no further limbs, protrudes considerably against the limb above. This is the temple of which Hittorff gives the richest paintings. - Of a beautiful line is the echinus of the columns at the southernmost temple of the castle *); but here again the straps of the same are very flat held and without relation to the wide incisions of the neck. Related idiosyncrasies show themselves to Agrigento. At the half-columns of the great temple of Jupiter") the echinus does not load very strongly, but in a softly curved line and dominates considerably over the abacus; also its straps very bluntly profiled. The base, or rather the continuous Foot cornice, is of an extraordinarily rough formation, only composed of all kinds of projecting and receding plates and bands, the uppermost of which resembles a wall crowning by a strong undercut, instead of being the bearer of a great load. - The so-called temples of Juno and Concordia") have more beautiful lines of echinus, but again flat and blunt straps next to strong incisions of the neck. The ante of the latter is in the heavy form mentioned above. The Echinus at the temple of Egesta*) repeats this soft, somewhat bulging form. The hanging plates here are crowned with a wave and strap, and that of the gable cornice is supported by a straight, slanting limb, both of which may be regarded as motifs from a later period. The latter appears incomparably clearer in the Minerven temple on the Ortygia of Syracuse*), whose overall proportions are nevertheless among the most compact and lowest of the Doric order. Here it is - not to commemorate the rectangularly profiled straps on the echinus of the outer peristyle, the plinths on which its columns stand, - first the columns in the pronaos, which show decidedly later motifs. The capital of the latter has instead of the aprons only a round bar and a toe (in the case of the latest Greek monuments there are various round bars at this point); then they stand on a so-called Tuscan base, which was also used in the Doric order only in the latest period. Furthermore, the antenticles, whose head cornice is strangely heavy (the overturning limb merges into the neck without interruption), appear equally wide on all three sides, while in the peristyle there are no columns facing them. Finally, the cornice above the entablature of the pronaos shows forms of manifold arbitrary and moving composition. All this makes it necessary to place the monument at a much later date and thus, as we have already noted, to assume that these difficult Doric conditions in Sicily will continue to exist. However, certain abnormal combinations of forms must be taken into account in these areas. This includes the mixture of the Doric and Ionic order, which we know from two monuments. One is a small Prostylos on the castle of Sel in Unt, that of Hittorff so-called Temple of Empedocles*). Columns with Doric canelling, Ionic capitals, and an entablature with triglyphs, plank heads and high carnelian gutter mouldings. The heads of the floorboards are narrow, but have the same peculiar projection as those of the two temples to the north. Special is the volute of the capital: a narrow band which four times, without all widening, around the eye of the snail is wound around. This contradicts the law, which is noticed in all snail formations of the Greek motherland - whether they are used in capitals or even in free ornaments - and which there everywhere designates a lively, feathery effect. Only among the mentioned remains of the area of Samos is there a member decorated with volutes, where they are formed in the same inelastic way. - The second monument is the so-called tomb of Theron of Agrigento*). Then, in various cases, a Hoh 11eisten is used as the uppermost crown. It is very common to find it as a gutter moulding on the fragments of a Doric entablature found near the Selinunte prostylos 2). Also as a crowning of Doric beams in the pronaos of the Temple of Concord at Agrigento and the Temple of Minerva at Syracuse, as a crowning of the substructure of the tomb of Theron, etc. - The hollow bar as the highest crowning, especially of all architectures, is essentially oriental; it is generally used in Persepolis, as in Egypt*). Here, too, this form, which resists Dorism - together with that un-Greek volute - can easily be explained as an externally added oriental motif by (Phoenician) Carthaginian influence*). – The great temple of Paestum *) is a building of extremely short and mass proportions. But these do not yet justify the high age which is attributed to the building. The decidedly strong, not exaggeratedly bulging line in the strong projection of the echinus, the peculiar profile of its straps, the light, flattened plank heads and the delicately curved wave under the slab of the gable cornice point here to an already advanced stage of art and make this monument appear perhaps as the most complete formation of that peculiarly heavy Dorism of the western countries. Here, too, the cornice as the crowning of the entablature in the pronaos cannot be overlooked. 1) Wilkins, op. cit. III, pl. XIX - XXI. oriental traditions as, for example, Greek - master builders. The Gold Clothing & Il 2) Hittorff et Z. a. a. O. pl. XVIII, 1. the inner walls of the market place there 3) As a crowning sima, the hollow moulding also appears in the legendary temple of Apollo, which is strikingly reminiscent of a phoenic tomb in Asia Minor, with a typical Nicaan style of decoration, including the soft Greek profiles. S. Donaldson, description of Solomon's temple building still in the supplement to the Ancient Athens, gives a clear picture. (lb., c. CXXVII./ c. VII, T. V. 5) About Paestum s. Wilkins, op. cit. VI. - Be 4) The Ionic column position in the inner port of sonders: De la Gardette, les ruines de Paestum. Carthago, of which we have Appian, sc. XCYIJ reports, we can just as well, if not better, old It is different with the two other still standing monuments of Paestum, the small temple and the basilica. Here everything breathes a strange effeminacy, which stands in striking contrast to the preserved Old Doric conditions. The pronounced bulging of the trunks of the columns, the softly drawn-in, leaf-decorated cave under the capital are motifs that just about cancel out the serious, dignified character of the Doric order. In addition, in the "smaller temple", there is the egg-stick above the architrave; the Roman sober arrangement of the triglyphs; the sought-after form of cassetting in the festoons of the hanging panels instead of the plank heads which otherwise help to carry the load; the Tuscan bases in the pronaos, etc. Even more striking, however, is the capitals of the pillars in the basilica, which in its main form is decidedly reminiscent of the pillar capitals of the Ionic monuments of Asia Minor, and was certainly even closer to them through the colourful decoration of the leaves. All this can only be seen as a late degeneration of earlier, more severe forms. - Most remarkable are finally the ruins of a monument of free Corinthian order with presumably Doric entablature *); the base of the columns resembles here, and even more so as on the Ionic half-columns of Bassae, the ancient Pelasgian column base of Mycenae. We do not know the connection between these forms. But who would not like to commemorate at the same time this change from effete Doric, soft Ionic and Pelasgian forms to Paestum, the daughter city of Sybaris, the well-known effeminacy in the customs of the mother city? The still standing temple ruin (Tavola dei Paladini) at Metapont*) on the Gulf of Tarentino shows something free and noble in its columnar position; the echinus of the capital, however, in its strongly projecting, softly curved line, in the important throat-like undercut formed by the tang of the shaft under the straps, is completely in keeping with the general laws of formation of the Sicilian and Great Greek monuments. - Very similar is the capitular shape of the strange temple of Cadac chio, on the opposite Corfu*). Another capital, found there deu 1) Cf. the more recent investigations of Mauch, travs the straps and drops are missing, so it seems in the continuation of Normand's cf. darst. the ar- here no frieze at all had been present; chitekt. Orders, T. 1. the strangely profiled cornice then forms a 2) Mauch, op. cit. T. 15. quite adequate crowning above the architrave. In the restoration that Railton is telling us about. 3) Métaponte, par le Duc de Luynes etc.pl. III-YI., the heavy timbering seems to have been removed, especially in the case of the unge 4) Railton, in the Supplement to the Ancient Friesians of articulated friezes, as a quite disproportionateAthens. c. IX. Since the columns of this temple have a very moderate load over the flared columns. According to significant intermediate distances [from 2 to 3 through - in my opinion this building would thus correspond to knives] and since the frieze does not have a certain relationship to the was found, also under the ties of the Archi- tuscan architecture. With the greatest caution, then, and only with regard to the possible existence of the principle of the whole of the Mt, we may take into account the coloured remains on the monuments of the various countries, if we wish to develop a system of polychromy, as may have taken place in the most noble development of Greek architecture; how inadmissible which is the antithesis, does not need to be presented in detail"). In general, the above-mentioned principle leads us here: that, if not others, then certainly the buildings of the heyday of Greece (i.e. the majority of the Attic ones), made of noble white marble, have shown the stone in its peculiar colour in their main parts; that the painting can only be related to minor details. We now look at the individual orders in this respect. In the Doric order, we are first confronted with two different forms, which by their nature claim to be painted, and without which they cannot be understood. These are the metopes of the frieze and the overturning link, which ches in the various cornices is applied. The metopes, as we have seen in the previous one, actually represent open spaces to accommodate a decoration of pictorial work. Since the necessary stronger connection of the framework required a massive filling of these spaces, they were exposed with plates on which the pictorial decoration is depicted in relief. The ground of these reliefs must therefore always have been marked by a darker colour in order to emphasise the triglyphs as the actual carriers of the cornice on one side and the reliefs on the other side. Even where the latter were not present, a darker colour in the metopes must also be assumed, whose heavy surface was then undoubtedly interrupted by a lighter ornament. Doric friezes, whose metopes, as so often in modern art, are neither decorated by reliefs nor by colour, not only appear to be burdensome, but the form of the triglyphs on them also seems completely meaningless. We do not have sufficient information about the colour of the metopes on the Attic monuments, but the predominant reasons for this are that they are painted blue: it is the analogy with the inner friezes of these buildings, on which the reliefs contained on them were highlighted by a blue background; likewise, the pediment - tympanum of the Aenetian temple behind the statues was, according to over of all the messages in tune with each other are colored blue. Sicilian monuments may have red 1) In this latter way Hittorff proceeds in such a way that for each individual detail he has to take into account some In the restoration of the temple of Empedocles /Annali, he demonstrates loving authority, and thus also believes the whole dell' inst. di corrisp. archeol. II, p. 263./7/, to be authorized. Remains of colours on the metopes, but this should be considered as a special peculiarity of that region :-). The overturning member used in the cornices has no meaning in itself, its profile expresses in no way any independent force and movement. However, many remnants of paint and slightly incised contours testify that this member was always calculated only for an actually plastic effect, that it was painted with a series of leaves which therefore lean slightly forward and appear as the delicate supports of a plate above. From the preserved remains of paint it is also clear that these leaves were not painted with mere outlines, but with real signs of wear. were presented. Thus, if we find two different forms of architecture emphasized by significant use of color, we must assume that they were also accompanied by a further color mediation against the large colorless main masses, since without such a mediation they would have appeared as disturbing spots. Here too, the peculiar character of various details gives us a not indifferent clue. Those limbs with a curved profile are not easy to recognize in their particular peculiarity, especially if they are continued in longer lines; the eye notices more the kind of shadow effect (which, by the way, can only be effective under favourable lighting) than the line of the profile. This latter line, to make it clear to the eye in every part of the limb, has been provided with a colored decoration, which in its main lines reflects the profile, which in other respects, however, appears to be freely formed in an artistic manner. These are the pearls of the round rods, the eggs of the quarter staffs, the heart leaves of the waves, of which some real traces of colour have survived and which now, in their structured appearance, enter into a close relationship with the leaf-like limb that is overturning. A further confirmation of the painting of the limbs mentioned above is provided by the plastic depiction of these decorations, which is frequently found on the Ionic monuments and even more so on later monuments*). 1) Bröndsted (travels and investigations in Grie- 2) Andre have in these decorations of the limbs a chenland, B. II, p. 147] takes on a special symbolic meaning for the Parthenon, which adopts the mantra-like red colour of the metopes by receiving, seeking to receive itself ditionally. But the eye is not aware of the general testimony of the monuments; it senses rust; but it also seems to have only sicilian in the beauty of the forms and leaves only the sense. the law that in themselves