DOI Page / Citation link:
https://doi.org/10.11588/diglit.5596#0136
CHRYSELEPHANTINE SCULPTURE, ETC. Ill
word xado-is for the same operation. Colour was
probably first laid on, and then burnished into the
marble, till it became transparent. This would
require the operation of a skilful artist. At Thebes
I observed blocks of marble, the surfaces of which
were stained with transparent colouring, which
was effected probably by the same method.1 The
following is the operation described by Vitruvius :
—" When the wall is well cleaned and dry,
(he has previously described the colouring) Punic
wax2 tempered with a little oil is laid on with a
brush, by the application of heat: the wall being
then well heated by means of a charcoal pan, the
wax is made to sweat and smooth itself. It is then
rubbed with a candle and clean linen, uti signa
marmorea nuda curantur." These last words are
decisive as to the mode of colouring statues.
Plutarch, in his " Roman Questions," when he is
speaking of the ancient statues covered with ver-
milion, says, that the colour very quickly faded,
and required renewing. Vitruvius, in the passage
just quoted, begins by saying,—" If it is wished
that the vermilion wash should retain its colour,"
1 The Principe San Severo, at the end of the last century,
was said to have discovered the means of tinting marble so effec-
tually, that thin slabs might be cut from it, each exhibiting the
same pattern. — Jean Mourse, Obs. sur Vltalie, iii. 91; Mag.
Encyc. 1795, vol. iii. p. 28 ; 1797, vol. iv. p. 407.
2 Punic wax is purified wax. Its preparation is described by
Wornum in his Notes to Fuseli's Lectures, which see.
word xado-is for the same operation. Colour was
probably first laid on, and then burnished into the
marble, till it became transparent. This would
require the operation of a skilful artist. At Thebes
I observed blocks of marble, the surfaces of which
were stained with transparent colouring, which
was effected probably by the same method.1 The
following is the operation described by Vitruvius :
—" When the wall is well cleaned and dry,
(he has previously described the colouring) Punic
wax2 tempered with a little oil is laid on with a
brush, by the application of heat: the wall being
then well heated by means of a charcoal pan, the
wax is made to sweat and smooth itself. It is then
rubbed with a candle and clean linen, uti signa
marmorea nuda curantur." These last words are
decisive as to the mode of colouring statues.
Plutarch, in his " Roman Questions," when he is
speaking of the ancient statues covered with ver-
milion, says, that the colour very quickly faded,
and required renewing. Vitruvius, in the passage
just quoted, begins by saying,—" If it is wished
that the vermilion wash should retain its colour,"
1 The Principe San Severo, at the end of the last century,
was said to have discovered the means of tinting marble so effec-
tually, that thin slabs might be cut from it, each exhibiting the
same pattern. — Jean Mourse, Obs. sur Vltalie, iii. 91; Mag.
Encyc. 1795, vol. iii. p. 28 ; 1797, vol. iv. p. 407.
2 Punic wax is purified wax. Its preparation is described by
Wornum in his Notes to Fuseli's Lectures, which see.