DOI Page / Citation link:
https://doi.org/10.11588/diglit.29898#0071
Sect. XII.
INTRODUCTION.
35
rule it may be assertecl that the best lithic ornaments are those which
approach nearest to the grace and pliancy o£ plants, and that the best
vegetable forms are those which most resemble the regalarity and
symmetry of such as are purely conventional.
Although the Greeks in one or two instances employed human
figures to support entablatures or beams, the goocl taste of such an
arrangement is more than questionable. They borrowecl it, with
the Ionic orcler, from the Assyrians, with whom the employment of
caryaticles and animal forms was the rule, not the exception, in contra-
clistinction from the Egyptians, who never aclopted this practice.1
Even the Romans avoided this mistake, ancl the Gothic architects also
as a general rule kept quite clear of it. Whenever they did employ
ornamented figures for architectural purposes, they were either
monsters, as in gargoyles or griffons ; or sometimes, in a spirit of
caricature, they used dwarfs or deformities of various sorts ; but their
sculpture, properly so called, was always provided with a niche or
pedestal, where it might have been placed after the builcling was
complete, or from which it might be removed without interfering
with the architecture.
XII.—Decorative Colour,
Colour is one of the most invaluable elements placecl at the com-
mand of the architect to enable him to give grace or finish to his
designs. Erom its nature it is of course only an accessory, or mere
ornament ; but there is nothing that enables him to express his mean-
ing so cheaply and easily, and at the same time with such brilliancy
and effect. For an interior it is absolutely indisj^ensable ; ancl no
apartment can be said to be complete till it has received its finishing
touches from the hand of the painter. Whether exteriors ought or
ought not to be similarly treated admits o£ more cloubt.
Internally the architect has complete commancl of the situation;
he can suit his design to his colours, or his colours to his design.
Walls, roof, floor, furniture, are all at his disposal, and he can shut
out any cliscordant element that would interfere with the desired
effect.
Externally this is seldom, if ever the case. A fagade that looks
brilliant and well in noonclay sun may be utterly out of harmony with
a cold grey sky, or with the warm glow of a setting sun full upon it;
and unless all other buildings and objects are toned into accordance
with it, the effect can seldom be harmonious.
There can be now no reasonable doubt that the Greeks painted
their temples both internally and externally, but as a general rule
1 The Isis-headed or Typlicmian capitals I rule : they are affixes, ancl never appear
cannot be quoted as an exception to tbis | to be doing tbe work of tbe pillar.
INTRODUCTION.
35
rule it may be assertecl that the best lithic ornaments are those which
approach nearest to the grace and pliancy o£ plants, and that the best
vegetable forms are those which most resemble the regalarity and
symmetry of such as are purely conventional.
Although the Greeks in one or two instances employed human
figures to support entablatures or beams, the goocl taste of such an
arrangement is more than questionable. They borrowecl it, with
the Ionic orcler, from the Assyrians, with whom the employment of
caryaticles and animal forms was the rule, not the exception, in contra-
clistinction from the Egyptians, who never aclopted this practice.1
Even the Romans avoided this mistake, ancl the Gothic architects also
as a general rule kept quite clear of it. Whenever they did employ
ornamented figures for architectural purposes, they were either
monsters, as in gargoyles or griffons ; or sometimes, in a spirit of
caricature, they used dwarfs or deformities of various sorts ; but their
sculpture, properly so called, was always provided with a niche or
pedestal, where it might have been placed after the builcling was
complete, or from which it might be removed without interfering
with the architecture.
XII.—Decorative Colour,
Colour is one of the most invaluable elements placecl at the com-
mand of the architect to enable him to give grace or finish to his
designs. Erom its nature it is of course only an accessory, or mere
ornament ; but there is nothing that enables him to express his mean-
ing so cheaply and easily, and at the same time with such brilliancy
and effect. For an interior it is absolutely indisj^ensable ; ancl no
apartment can be said to be complete till it has received its finishing
touches from the hand of the painter. Whether exteriors ought or
ought not to be similarly treated admits o£ more cloubt.
Internally the architect has complete commancl of the situation;
he can suit his design to his colours, or his colours to his design.
Walls, roof, floor, furniture, are all at his disposal, and he can shut
out any cliscordant element that would interfere with the desired
effect.
Externally this is seldom, if ever the case. A fagade that looks
brilliant and well in noonclay sun may be utterly out of harmony with
a cold grey sky, or with the warm glow of a setting sun full upon it;
and unless all other buildings and objects are toned into accordance
with it, the effect can seldom be harmonious.
There can be now no reasonable doubt that the Greeks painted
their temples both internally and externally, but as a general rule
1 The Isis-headed or Typlicmian capitals I rule : they are affixes, ancl never appear
cannot be quoted as an exception to tbis | to be doing tbe work of tbe pillar.