A History of Greek Art by F. B. Tarbell (free novel 24 .txt) 📕

were the columns, including, probably, their capitals, except between the annulets. Thus color was confined to the upper members—the triglyphs, the under surface (soffit) of the cornice, the sima, the anta-capitals (cf. Fig. 54), the ornamental details generally, the coffers of the ceiling, and the backgrounds of sculpture. [Footnote: Our frontispiece gives the backgrounds of the metopes as plain, but this is probably an error] The triglyphs, regulae, and mutules were blue; the taenia of the architrave and the soffit of the cornice between the mutules with the adjacent narrow bands were red; the backgrounds of sculpture, either blue or red; the hawk’s-beak molding, alternating blue and red; and so on. The principal uncertainty regards the treatment of the unpainted members. Were these left of a glittering white, or were they toned down, in the case of marble buildings, by some application or other, so as to contrast less glaringly with the painted portions? The latter supposition receives some confirmation from Vitruvius, a Roman writer on architecture of the age of Augustus, and seems to some modern writers to be demanded by aesthetic considerations. On the other hand, the evidence of the Olympia buildings points the other way.

Perhaps the actual practice varied. As for the coloring of Ionic architecture, we know that the capital of the column was painted, but otherwise our information is very scanty.

 

If it be asked what led the Greeks to a use of color so strange to us and, on first acquaintance, so little to our taste, it may be answered that possibly the example of their neighbors had something to do with it. The architecture of Egypt, of Mesopotamia, of Persia, was polychromatic. But probably the practice of the Greeks was in the main an inheritance from the early days of their own civilization. According to a well-supported theory, the Doric temple of the historical period is a translation into stone or marble of a primitive edifice whose walls were of sun-dried bricks and whose columns and entablature were of wood. Now it is natural and appropriate to paint wood; and we may suppose that the taste for a partially colored architecture was thus formed. This theory does not indeed explain everything.

It does not, for example, explain why the columns or the architrave should be uncolored. In short, the Greek system of polychromy presents itself to us as a largely arbitrary system.

 

More interesting than the question of origin is the question of aesthetic effect. Was the Greek use of color in good taste? It is not easy to answer with a simple yes or no. Many of the attempts to represent the facts by restorations on paper have been crude and vulgar enough. On the other hand, some experiments in decorating modern buildings with color, in a fashion, to be sure, much less liberal than that of ancient Greece, have produced pleasing results. At present the question is rather one of faith than of sight; and most students of the subject have faith to believe that the appearance of a Greek temple in all its pomp of color was not only sumptuous, but harmonious and appropriate.

 

When we compare the architecture of Greece with that of other countries, we must be struck with the remarkable degree in which the former adhered to established usage, both in the general plan of a building and in the forms and proportions of each feature.

Some measure of adherence to precedent is indeed implied in the very existence of an architectural style. What is meant is that the Greek measure was unusual, perhaps unparalleled. Yet the following of established canons was not pushed to a slavish extreme. A fine Greek temple could not be built according to a hard and fast rule. While the architect refrained from bold and lawless innovations, he yet had scope to exercise his genius. The differences between the Parthenon and any other contemporary Doric temple would seem slight, when regarded singly; but the preeminent perfection of the Parthenon lay in just those skilfully calculated differences

 

A Greek columnar building is extremely simple in form.[Footnote: The substance of this paragraph and the following is borrowed from Boutmy, “Philosophie de l’Architecture en Grece” (Paris, 1870)]

The outlines of an ordinary temple are those of an oblong rectangular block surmounted by a triangular roof. With a qualification to be explained presently, all the lines of the building, except those of the roof, are either horizontal or perpendicular. The most complicated Greek columnar buildings known, the Erechtheum and the Propylaea of the Athenian Acropolis, are simplicity itself when compared to a Gothic cathedral, with its irregular plan, its towers, its wheel windows, its multitudinous diagonal lines.

 

The extreme simplicity which characterizes the general form of a Greek building extends also to its sculptured and painted ornaments. In the Doric style these are very sparingly used; and even the Ionic style, though more luxuriant, seems reserved in comparison with the wealth of ornamental detail in a Gothic cathedral. Moreover, the Greek ornaments are simple in character.

Examine again the hawk’s-beak, the egg-and-dart, the leaf-and-dart, the astragal, the guilloche, the honeysuckle, the meander or fret. These are almost the only continuous patterns in use in Greek architecture. Each consists of a small number of elements recurring in unvarying order; a short section is enough to give the entire pattern. Contrast this with the string-course in the nave of the Cathedral of Amiens, where the motive of the design undergoes constant variation, no piece exactly duplicating its neighbor, or with the intricate interlacing patterns of Arabic decoration, and you will have a striking illustration of the Greek love for the finite and comprehensible.

 

When it was said just now that the main lines of a Greek temple are either horizontal or perpendicular, the statement called for qualification. The elevations of the most perfect of Doric buildings, the Parthenon, could not be drawn with a ruler. Some of the apparently straight lines are really curved. The stylobate is not level, but convex, the rise of the curve amounting to 1/450 of the length of the building; the architrave has also a rising curve, but slighter than that of the stylobate. Then again, many of the lines that would commonly be taken for vertical are in reality slightly inclined. The columns slope inward and so do the principal surfaces of the building, while the anta-capitals slope forward. These refinements, or some of them, have been observed in several other buildings. They are commonly regarded as designed to obviate certain optical illusions supposed to arise in their absence. But perhaps, as one writer has suggested, their principal office was to save the building from an appearance of mathematical rigidity, to give it something of the semblance of a living thing.

 

Be that as it may, these manifold subtle curves and sloping lines testify to the extraordinary nicety of Greek workmanship. A column of the Parthenon, with its inclination, its tapering, its entasis, and its fluting, could not have been constructed without the most conscientious skill. In fact, the capabilities of the workmen kept pace with the demands of the architects. No matter how delicate the adjustment to be made, the task was perfectly achieved. And when it came to the execution of ornamental details, these were wrought with a free hand and, in the best period, with fine artistic feeling. The wall-band of the Erechtheum is one of the most exquisite things which Greece has left us.

 

Simplicity in general form, harmony of proportion, refinement of line—these are the great features of Greek columnar architecture.

 

One other type of Greek building, into which the column does not enter, or enters only in a very subordinate way, remains to be mentioned—the theater. Theaters abounded in Greece. Every considerable city and many a smaller place had at least one, and the ruins of these structures rank with temples and walls of fortification among the commonest classes of ruins in Greek lands.

But in a sketch of Greek art they may be rapidly dismissed. That part of the theater which was occupied by spectators—the auditorium, as we may call it—was commonly built into a natural slope, helped out by means of artificial embankments and supporting walls. There was no roof. The building, therefore, had no exterior, or none to speak of. Such beauty as it possessed was due mainly to its proportions. The theater at the sanctuary of Asclepius near Epidaurus, the work of the same architect who built the round building with the Corinthian columns referred to on page 103, was distinguished in ancient times for “harmony and beauty,”

as the Greek traveler, Pausamas (about 165 A. D.), puts it. It is fortunately one of the best preserved. Fig. 74, a view taken from a considerable distance will give some idea of that quality which Pausanias justly admired. Fronting the auditorium was the stage building, of which little but foundations remains anywhere. So far as can be ascertained, this stage building had but small architectural pretensions until the post classical period (i.e., after Alexander) But there was opportunity for elegance as well as convenience in the form given to the stone or marble seats with which the auditorium was provided.

 

CHAPTER IV.

 

GREEK SCULPTURE.—GENERAL CONSIDERATIONS.

 

In the Mycenaean period, as we have seen, the art of sculpture had little existence, except for the making of small images and the decoration of small objects. We have now to take up the story of the rise of this art to an independent and commanding position, of its perfection and its subsequent decline. The beginner must not expect to find this story told with as much fulness and certainty as is possible in dealing with the art of the Renaissance or any more modern period. The impossibility of equal fulness and certainty here will become apparent when we consider what our materials for constructing a history of Greek sculpture are.

 

First, we have a quantity of notices, more or less relevant, in ancient Greek and Roman authors, chiefly of the time of the Roman Empire. These notices are of the most miscellaneous description.

They come from writers of the most unlike tastes and the most unequal degrees of trustworthiness. They are generally very vague, leaving most that we want to know unsaid. And they have such a haphazard character that, when taken all together, they do not begin to cover the field. Nothing like all the works of the greater sculptors, let alone the lesser ones, are so much as mentioned by name in extant ancient literature.

 

Secondly, we have several hundreds of original inscriptions belonging to Greek works of sculpture and containing the names of the artists who made them. It was a common practice, in the case especially of independent statues in the round, for the sculptor to attach his signature, generally to the pedestal. Unfortunately, while great numbers of these inscribed pedestals have been preserved for us, it is very rarely that we have the statues which once belonged on them. Moreover, the artists’ names which we meet on the pedestals are in a large proportion of cases names not even mentioned by our literary sources. In fact, there is only one indisputable case where we possess both a statue and the pedestal belonging to it, the latter inscribed with the name of an artist known to us from literary tradition. (See pages 212-3.) Thirdly, we have the actual remains of Greek sculpture, a constantly accumulating store, yet only an insignificant remnant of what once existed. These works have suffered sad disfigurement.

Not one life-sized figure has reached us absolutely intact; but few have escaped serious mutilation. Most of those found before the beginning of this century, and some of those found since, have been subjected to a process known as “restoration.” Missing parts have been supplied, often in the most arbitrary and tasteless manner, and injured surfaces,