This opinion, however, is entirely based on the fact that the traces of ornament which do remain are all engraved in outline on the marble with a sharp instrument; and it is therefore concluded that this was the universal practice of the Greeks, and that, where no engraved line exists there was no ornament. I think this a very bold assumption.
It is evident that in such enduring ornaments as those of the Greeks, provision must have been made for repaintings; and, therefore, on their moulded surfaces they took care to leave an enduring mark of the pattern, more especially as these mouldings were in positions most difficult of access; whilst on the broader surfaces this labour in the beginning would not be necessary, as the ornaments may have been readily repainted without it.
In the three centre bays we have attempted a still higher key of colour. The ornaments of the coffers are suggested by No. 2, from the coffers of the Propylaea.
MOULDINGS ENCLOSING THE PANATHENAIC FRIEZE.
The enrichment A, and the fret B and C, are published by Mr. Penrose; A, coloured exactly as I have shown it, and B and C with the fret only in gold, of which he imagines the pattern now on their surfaces may have been the trace.
Architrave Band, as published by Mr. Penrose.
The principle of colouring on the moulding A helps to the colouring of the frets B and C, which, placed in the original 40 feet from the ground, would have been invisible in gold alone or any other tint.
THE PANATHENAIC FRIEZE.
I have placed in the gallery behind the Greek and Roman Courts, casts from the Elgin frieze of the British Museum,[[4]] for the express purpose of showing how it might possibly have been coloured.