DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.15099#0080
60
could only see them at a very acute angle, and consequently, if
the relief had not been exceedingly low, the greater part of the
outlines and details would have been eclipsed by the projections
of the lower parts. In the temple of Theseus no such necessity
for low relief existed ; the frieze was only about fourteen feet above
the head of the spectator, the platform was low, and he might
place himself at a reasonable distance from the temple, and view
the sculpture from such an angle as would suit the character and
projection of the parts. The view would indeed in this case be
interrupted, but without inconvenience to the spectator, or detri-
ment to the design, for the subject is divided into groups which
have not any necessary connection with each other, and will well
bear to be viewed separately and in detail, while the subject of the
Parthenon frieze was continuous, and would not admit of the
view being much interrupted, without detracting from the general
effect, and interfering with a comprehensive understanding of
the entire subject of the sculptures. It is evident that here, as
upon many Grecian buildings, colour was called in to aid the
effect of the sculpture, for Col. Leake observes that " Vestiges of
bronze and golden coloured arms, of a blue sky, and of blue,
green and red drapery, are still very apparent. A painted
foliage and mseander is seen on the interior cornice of the peri-
style, and a painted star in the lacunaria."3
Those portions of the frieze, which decorated the pronaos or
eastern portico of the temple, and of which the Museum possesses
casts, are represented in plates XII—XVII. and are arranged
on the east side of the Elgin Saloon to the north of the entrance,
being numbered consecutively A 55—68. The subject of this
range of sculpture has engaged the attention of various archaeo-
logists, who have not arrived at any uniform or satisfactory
conclusion; and it must be admitted that, after all their labours,
the story represented is far from being well ascertained or un-
3 Topography of Athens, p. 400.
could only see them at a very acute angle, and consequently, if
the relief had not been exceedingly low, the greater part of the
outlines and details would have been eclipsed by the projections
of the lower parts. In the temple of Theseus no such necessity
for low relief existed ; the frieze was only about fourteen feet above
the head of the spectator, the platform was low, and he might
place himself at a reasonable distance from the temple, and view
the sculpture from such an angle as would suit the character and
projection of the parts. The view would indeed in this case be
interrupted, but without inconvenience to the spectator, or detri-
ment to the design, for the subject is divided into groups which
have not any necessary connection with each other, and will well
bear to be viewed separately and in detail, while the subject of the
Parthenon frieze was continuous, and would not admit of the
view being much interrupted, without detracting from the general
effect, and interfering with a comprehensive understanding of
the entire subject of the sculptures. It is evident that here, as
upon many Grecian buildings, colour was called in to aid the
effect of the sculpture, for Col. Leake observes that " Vestiges of
bronze and golden coloured arms, of a blue sky, and of blue,
green and red drapery, are still very apparent. A painted
foliage and mseander is seen on the interior cornice of the peri-
style, and a painted star in the lacunaria."3
Those portions of the frieze, which decorated the pronaos or
eastern portico of the temple, and of which the Museum possesses
casts, are represented in plates XII—XVII. and are arranged
on the east side of the Elgin Saloon to the north of the entrance,
being numbered consecutively A 55—68. The subject of this
range of sculpture has engaged the attention of various archaeo-
logists, who have not arrived at any uniform or satisfactory
conclusion; and it must be admitted that, after all their labours,
the story represented is far from being well ascertained or un-
3 Topography of Athens, p. 400.