An Apology for the Colouring of the Greek Court in the Crystal Palace

by Owen Jones

G. H. LEWES.

“As regards archaic sculpture in Greece, we may be considered to have decisive proof from Pausanias and others, that the ancient sacred figures, that were rather venerated as idols than admired for art, were often entirely coloured—flesh and drapery with vermilion, perhaps conventionally and rudely enough, as we find on the archaic vases, the flesh of women painted white, and that of men black.

The marble statues of Ægina, and others, that are works of truly fine art, offer a second form of the application of colour. Here the eyes, lips, draperies, ornaments, and details of arms, have their true local colour, but the monuments themselves only give us the negative evidence with respect to the flesh, that if coloured at all, it must have been less solidly. Unless it were tinged or stained, it is difficult to understand how the effect of the coloured part could have been otherwise than very disagreeable—spotty, patchy, crude, ghastly to the last degree; but the experiment might be tried.

On the other hand, it is most certain that in the chryselephantine statues, the Minerva of the Parthenon, the Jupiter Olympian, the Juno of Argos, by Phidias, and by Polycletus, the greatest variety of colour was applied throughout—or rather variety of colour was given by the different materials of which these figures were composed, ivory, gold, various coloured woods, stones and gems. But painting or staining in the proper sense of the words, was certainly applied to some portions; as, for instance, Pausanias states that the robe of Jupiter had lilies painted on it.

The application of colour to the details of the architecture at least, and to portions of the architectonic sculpture, would be absolutely required, to harmonise them with the chief object in the temple itself.

Lastly, as to the flesh of marble statues of the best age, no rule can be deduced for this from any practice that obtained in primitive times, or from chryselephantine works, which seem to have been in designed contrast in the whole of their treatment.

The argument for colour on marble flesh of the best age, from existing remains, so far as I am aware, is equal to zero. But the passage respecting Nicias and Polycletus, is of very great force. There is no escape from its application to marble statues, nor from the great skill that there was occasion and scope for in the circumlitio. Whatever this tinging or colouring may have been, we may be sure that it was so employed as to heighten the purest effects. The edge and sharpness, and smoothness and brilliancy, of the material, cannot have been destroyed by it; rather sobered it may be, but still enhanced. Doubtless it aided the peculiar glories of sculpture, the display of forms, by rendering them more visible—idealised rather than imitated nature, and treated every part under the law of regard to the supreme intention and sentiment of the whole. The same remarks (such as they are) apply to bas-reliefs, which, however, have difficulties of their own.

Vitruvius (vii. 9), after describing the preparation of minium or vermilion, goes on to speak of its liability to change colour from the action of direct sunlight, and gives instructions for protecting it; he does not mention the medium employed with the colour, but as it is insoluble, we must assume the use of size, as in other instances, or gum, &c. The wall he is thinking of is apparently stucco.

‘When the wall is painted with vermilion and dry, lay on with a brush (of bristles, a hard or rough brush), Punic wax melted over the fire, and a little tempered with oil; then by means of hot coals in an iron vessel, warm the wall well and make the wax run, and equalize itself; afterwards rub it with a wax candle and clean cloths, as nude marble figures are treated.’

Pliny (xxi. 14) gives the preparation of Punic wax by a process of which the chemical result, according to Dr. Turner, was a soap of twenty parts wax to one of soda. He also (xxxiii. 7) describes the same process as Vitruvius above, apparently copying him or a common authority. The wax, he says, is applied hot, heated with coals (admotis gallæ carbonibus, whatever they may be), and then rubbed with wax candles, and afterwards with clean linen cloths, as marbles also become bright (or shiny), (sicut et marmora nitescunt).