DOI Page / Citation link:
https://doi.org/10.11588/diglit.5596#0190
CHRYSELEPHANTINE SCULPTURE, ETC.
161
If such be the case with architectural polychromy,
where the colours were always bright and vivid, how
can it be expected that the faint tints of iconic
polychromy should be preserved to us ?
It is not incumbent on us to prove that this
practice was conformable with pure taste : it is only
by conjecture that we can say to what extent colour
was applied, and how then can we undertake to
say whether the effect was pleasing ? But not only
should we give credit to the Greeks for being as
excellent in this respect as they showed themselves
in all other arts, but considering the chasteness and
severity of their taste in sculpture as in all other
arts, and the simplicity so constantly observed, it
would be alike unreasonable and unjust, that in
this particular alone the taste of the Greek should
be chargeable with extravagance or vulgarity.1
It now only remains to ask, Is this system of
1 It is with pleasure I perceive that ray arguments are sup-
ported by the opinion of an able writer in the Bevue Archeologique.
M. Cartier says :—
" Nous avons sans cesse sous les yeux des statues et des monu-
ments sans couleur, et nous en concluons que la sculpture et
l'architecture doivent s'en passer pour rendre les masses et les
formes qu'elles emploient. Mais n'est-ce pas parceque nous nous
imaginons que, pour le faire, il faudrait empieter but le terrain
d'autrui et operer au moyen de la peinture un melange de deux
arts distincts, comma le pratiquent les sauvages ? Cette con-
fusion reprehensible a bien pu avoir ete faite dans des temps
barbares de la Grece, mais elle cessa lorsque la civilisation rendit
cette contree digne des regards et de l'imifcation de tous les
Y
161
If such be the case with architectural polychromy,
where the colours were always bright and vivid, how
can it be expected that the faint tints of iconic
polychromy should be preserved to us ?
It is not incumbent on us to prove that this
practice was conformable with pure taste : it is only
by conjecture that we can say to what extent colour
was applied, and how then can we undertake to
say whether the effect was pleasing ? But not only
should we give credit to the Greeks for being as
excellent in this respect as they showed themselves
in all other arts, but considering the chasteness and
severity of their taste in sculpture as in all other
arts, and the simplicity so constantly observed, it
would be alike unreasonable and unjust, that in
this particular alone the taste of the Greek should
be chargeable with extravagance or vulgarity.1
It now only remains to ask, Is this system of
1 It is with pleasure I perceive that ray arguments are sup-
ported by the opinion of an able writer in the Bevue Archeologique.
M. Cartier says :—
" Nous avons sans cesse sous les yeux des statues et des monu-
ments sans couleur, et nous en concluons que la sculpture et
l'architecture doivent s'en passer pour rendre les masses et les
formes qu'elles emploient. Mais n'est-ce pas parceque nous nous
imaginons que, pour le faire, il faudrait empieter but le terrain
d'autrui et operer au moyen de la peinture un melange de deux
arts distincts, comma le pratiquent les sauvages ? Cette con-
fusion reprehensible a bien pu avoir ete faite dans des temps
barbares de la Grece, mais elle cessa lorsque la civilisation rendit
cette contree digne des regards et de l'imifcation de tous les
Y