DOI Page / Citation link:
https://doi.org/10.11588/diglit.15096#0043
26
which in the Parthenon receded nine inches within the face of the
entablature.(6;>
An increased magnitude is given to those figures which are en-
gaged in the chief action; the dimensions of the others correspond
with their relative importance, so as, without shocking the eye, to fix
the attention more strikingly upon the principals : and the triangular
form and inclination of the pediments naturally induced this arrange-
ment. So disposed as to conform to the prescribed outline without
constraint, the composition of the group was regular; in the details,
the sculptor found ample field for variety in the opposition of atti-
tudes, of sexes, of the naked and draped figures, in the introduc-
tion of animals, and of various materials. For the fragments show
that the weapons, the reins of the horses, and other accessories
were in metal, probably gilt; and the eyes of some of the prin-
cipal figures were relieved by the introduction of precious stones,
which gave a higher finish and vivacity to them. Nor can it be
doubted that colour was introduced; the marbles of iEgina exhibit
abundant proofs of the practice of painting, both in the statues and
the architecture around them, several members of which were
enriched with painted ornaments, in gold, vermilion, and blue.(')
Indications of colour in the marbles of the Parthenon are apparent
in several portions both of the sculpture and architecture, after an
exposure of more than 2000 years to the inclemencies of the weather.
The ancient edifices of Egypt furnish abundant examples of this
practice ; and many of the remains of Grecian architecture, on their
first discovery from the earth, show the colours in all their
freshness.
6 The Tympanum was composed in the Parthenon of ten large slabs, forming a
smooth back, showing only nine perpendicular joints behind the statues.
7 In the Temple of iEgina, the Tympanum was painted a light blue. Many
fragments of it were discovered in the ruins.
which in the Parthenon receded nine inches within the face of the
entablature.(6;>
An increased magnitude is given to those figures which are en-
gaged in the chief action; the dimensions of the others correspond
with their relative importance, so as, without shocking the eye, to fix
the attention more strikingly upon the principals : and the triangular
form and inclination of the pediments naturally induced this arrange-
ment. So disposed as to conform to the prescribed outline without
constraint, the composition of the group was regular; in the details,
the sculptor found ample field for variety in the opposition of atti-
tudes, of sexes, of the naked and draped figures, in the introduc-
tion of animals, and of various materials. For the fragments show
that the weapons, the reins of the horses, and other accessories
were in metal, probably gilt; and the eyes of some of the prin-
cipal figures were relieved by the introduction of precious stones,
which gave a higher finish and vivacity to them. Nor can it be
doubted that colour was introduced; the marbles of iEgina exhibit
abundant proofs of the practice of painting, both in the statues and
the architecture around them, several members of which were
enriched with painted ornaments, in gold, vermilion, and blue.(')
Indications of colour in the marbles of the Parthenon are apparent
in several portions both of the sculpture and architecture, after an
exposure of more than 2000 years to the inclemencies of the weather.
The ancient edifices of Egypt furnish abundant examples of this
practice ; and many of the remains of Grecian architecture, on their
first discovery from the earth, show the colours in all their
freshness.
6 The Tympanum was composed in the Parthenon of ten large slabs, forming a
smooth back, showing only nine perpendicular joints behind the statues.
7 In the Temple of iEgina, the Tympanum was painted a light blue. Many
fragments of it were discovered in the ruins.