The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1869-04-08
from contradiction, have sufficiently sure his.

Iom VVh'IauolOn, nave sunolenuy sure MS
to1ic foundation.
Concerning polyohrome M. Beule truly states
that there have been three distinct theories
The first denies to Greek architecture and
sculpture color altogether; the second accords
color without STINT while the third as happy
mean between the two extremes, suggests that
color may have been modified and mitigated
according to the exigencies OF material eli.
mate aud use. We think IL can be affirmed
that the first and the second of these proposi-
tions must be surrendered as untenable. Thus
the much debated practice of polychrome is re-
duced to question Of degree, relation, and
circumstance. NJ. Beule believes that Greek
systems passed through successive stages, and
were under continuous transformation. Thus
he refers the historic origin OF polychrome
back to primal wood structures. Marble tenn
pies took their first types from prior wooden
fabrics, and the copying of the form naiur-
ally involved the adoption of the
color. Thus the earliest practice of
poly chrome arose in the obvious utility of pre-
serving perishable material, and Disgusting
a surface not in itself necessarily orna-
mental. From this probable conjecture we
gladly draw the broad conclusion that this
earliest polyohrome, transcribed servilely
from rude wooden structures, was somewhat
crude and barbarOus; while in more advanced
epochs the tones became refined, delicate and
transparent. One reason, at all events, held
equally good for the painting of wood and
stone: when the stone was poor and perish
able, it needed, no less than wood, projection
or decoration. Greek architects, indeed, seem
to have done pretty much as the middle-age
builders; when the masonry was rotten, they
disguised blemishes by coating of stucce or
plaster. Tie reasoning, of course, tells en-
tirely the other way when the material
is in itself lovely, and the lines of con-
struotion and masonry good in art; then
the more seen the better. 1t certainly would
strike as ss bsrbarous in taste, and altogether
suicidal in art, to hide or disfgure with plaster
or opaque paint the sclear crystal and the
translucent texture OF Pentelious marble. AS
soon could we believe that lady Of q COM
plexion bright in the bloom of youth would
betake herself to Rachel enamel. M Beule,
however, is evidently of opinion that suspi-
cion of rouge may heighten the charm of
nature. It appears clear that color was ap-
piled in various ways; sometimes on coat
of plaster, and sometimes directly on
the surface of the marble. And a dis
tinction must be drawn between a coat OF
stucco and a lhin wash of transparent paint.
Thus does M. Beul6 with reason conjecture
that marble priced for its own sake might be
preserved in its beauty by the use of can en-
caustic preparation, pale and transparent,
which should soften orudity without destroy
ing the loveliness and lustre of the material"
lieving that Greek polychromy conformed to
the fundamental law of all true decoration
that OF ornament of construction, not of con-
struotion Of ornament that of adorning mate
rial, not destroying it. The system evidently
was vital; 1t had power of adaptation. Thus
when, as in the Doric order, the forms were
massive, the color preserved consonant
gravity; but when the proportions became as
in the Ionic, elegant, the tones assumed more
lightness and cheerfulness. The color of
sculpture we have always deemed to follow as
logical and inevitable necessity on the color
of its surrounding architectural structure.
John Gibson was accustomed to talk much
on this the favorite topic of his closing years;
but thoug h an uncompromising polychromist,
we have heard him pronounce as a mistake
the color applied by Mr.. Owen Jones to the
Elgin Friezes. In the notorious painted
Venus, as seen in the International Exhibi-
ton OF 1862, Gibson gave what he believed to
be an accurate reproduction of Greek poly
chromy. On this not wholly unsuccessful
experiment it may be observed in elucidation
of preceding princip ples-1st. That a semi
transparent pigment was so applied as to pre-
serve in some degree the quality of the I'M
derlyipg marble; I'd. That the color was inten-
tionally non-naturalistic, the tone being that
of ivory, not of flesh; Sd. That the figure held
harmonious relation with the colored archi-
tectural background. Mr.. Gibson, when he
came to London, expressed his complete salts
faction with the result. Doubtless it was the
misfortune of his art to start with the assump-
tion that the Greeks could do no wrong such
| assumption not only involves servilty, but
stands in opposition to the universal expert
| snce that error is inseparable from all human
work. M. Beul6, like Mr.. Gibson, believes in
| the infallibility of the Greeks. The argument,
stripped Of oiroumlocution, reads thus-A
| that the Greeks did was right they colored
architecture and sculpture; therefore to color
architecture and sculpture is right.
We confess that we have become converts
to "Greek polychrome" almost against our
| will. We cannot but feel how unapprosoha-
BILE for beauty is marble fresh from the chisel,
and we know in what loveliness the elements
have clothed temples in Athens, on the head
We cannot but say that on the spot any pro-
position for polychrome would have sounded
as proclamation. Still the historic levidence
seems conclusive, and abstract reasoning IL
certainly not entirely on the side of colorlesE
light and shade. Doubtless it is possible tC
conceive that a bran new, brightly painted
temple might assume an aspect poetic anG
imposing when backed by the brilliant sky o.
Atica, or the deep blue OF the Kgean Sea
M. Semper an enthusiast and partisan, pre-
sents the imagination with the following pic
ture:-
s'The prevailing color of the temple burned wit
all the glowing beauty OF the setting sun. The colo
| NAV he defined of yellow red, very YapOry, resem
bling that of the finest terra cottas In fact, tn
| general appearance OF the temple would precisel
resemble the appearance of fine day in an Easter
| climate
This relation between sky and color climat
and material, involves the true principle 70
the application OF poiychrome. And yet tn
reasoning sometimes cuts both ways. Thus