DOI Page / Citation link:
https://doi.org/10.11588/diglit.5596#0162
136
ANCIENT ART.
with the like object, to produce what we call
morbidezza.1
it unfortunately happens that the "preparations" employed by
the masons for cleaning statuary sometimes leave a most unsightly
stain, as was recently pointed out to me by a verger, in one of
the statues of St. Paul's Cathedral. All that is required for the
purpose of cleaning is the application of a feather-broom, or of a
pair of bellows, moved by machinery. ■•" Great part of the Par-
thenon, which once sparkled with the chaste but splendid brilliancy
of the Pentelic marble, is now covered with the warm and mellow
tint of an autumnal sunset. The whole of the western front has
acquired from age an ochreous patina, which is composed of deep
and vivid hues. The eastern front is still more picturesque.
Upon some of the statues from the tympana of the Parthenon,
and upon the architectural fragments of the Erechtheion, whicli
are in the British Museum, remains of this golden patina are
still visible, though much diminished since their removal from
Athens." {Dodioell's Travels, i. 344.) In like manner Clarke
describes the ochreous tint on the Theseum. {Travels, iii. 537.)
Speaking of this rich colour which overspreads the Athenian
buildings, M. Bronsted says : — " Etant eclaire par le soleil
du matin, le temple de Thesee se presenta a uous, comme une
enorme flamme, sortant d'un entourage obscur. Le Parthenon
presente le meme phenomene, qui m'a souvent et longtemps
charme, place que j'etais dans l'ombre, a, une distance convenable."
(Voyage en Grece, ii. 145.) Even a slight coating of dust may
not be without its advantages in a room where works of sculpture
do not get a direct light and shadow. Mr. Bell, the sculptor,
speaking of the rilievo of the pediment of St. Paul's Cathedral,
says :—" One is glad to be able to say for once something favour-
able for London smoke, for the mode in which it has darkened
certain parts of the rilievo, and left others white, has subserved
the scheme of the composition, and most vigorously enhanced its
chiaroscuro." {Papers of the Boy. Inst, of Brit. ArcTits., Session
1858-59, p. 34.)
1 " TJltimamente io trovo in Giovenale che le statue s'incera-
vano : 'Genua (dice egli) incerare Deorum;' e in Plinio che in
ANCIENT ART.
with the like object, to produce what we call
morbidezza.1
it unfortunately happens that the "preparations" employed by
the masons for cleaning statuary sometimes leave a most unsightly
stain, as was recently pointed out to me by a verger, in one of
the statues of St. Paul's Cathedral. All that is required for the
purpose of cleaning is the application of a feather-broom, or of a
pair of bellows, moved by machinery. ■•" Great part of the Par-
thenon, which once sparkled with the chaste but splendid brilliancy
of the Pentelic marble, is now covered with the warm and mellow
tint of an autumnal sunset. The whole of the western front has
acquired from age an ochreous patina, which is composed of deep
and vivid hues. The eastern front is still more picturesque.
Upon some of the statues from the tympana of the Parthenon,
and upon the architectural fragments of the Erechtheion, whicli
are in the British Museum, remains of this golden patina are
still visible, though much diminished since their removal from
Athens." {Dodioell's Travels, i. 344.) In like manner Clarke
describes the ochreous tint on the Theseum. {Travels, iii. 537.)
Speaking of this rich colour which overspreads the Athenian
buildings, M. Bronsted says : — " Etant eclaire par le soleil
du matin, le temple de Thesee se presenta a uous, comme une
enorme flamme, sortant d'un entourage obscur. Le Parthenon
presente le meme phenomene, qui m'a souvent et longtemps
charme, place que j'etais dans l'ombre, a, une distance convenable."
(Voyage en Grece, ii. 145.) Even a slight coating of dust may
not be without its advantages in a room where works of sculpture
do not get a direct light and shadow. Mr. Bell, the sculptor,
speaking of the rilievo of the pediment of St. Paul's Cathedral,
says :—" One is glad to be able to say for once something favour-
able for London smoke, for the mode in which it has darkened
certain parts of the rilievo, and left others white, has subserved
the scheme of the composition, and most vigorously enhanced its
chiaroscuro." {Papers of the Boy. Inst, of Brit. ArcTits., Session
1858-59, p. 34.)
1 " TJltimamente io trovo in Giovenale che le statue s'incera-
vano : 'Genua (dice egli) incerare Deorum;' e in Plinio che in