A. Cornice decoration. Olympia. Terra cotta. B. Akroterion Parthenon. C. Rosette Olympia. Terra cotta. D. From the Akropolis. E. Terra cotta metope Temple of Thermos. N the preceding part of the treatise it was comparatively large areas, is to appear harsh maintained that color gradation when and detached in effect. In coloring an archi- I artificially produced in architectural tectural design, the Greeks found it advisable polychromy induces visual impressions to treat certain sizeable items with an unbro- which are not in accord with actual condi- ken color. Artistic intuition in such cases tions. One must not, however, condemn would automatically prescribe tone modula- tone gradation in every form as disadvanta- tion as the most effective means for neutral- geous. Where color is employed to con- izing the inherent harshness in such color tribute its quota of beauty to architectural masses. Artificial gradation being inadmissi- effect, it would be illogical to impose a ble, the need arises for discovering methods restriction eliminating one of its most inter- whereby the requisite chromatic quality esting features. Ungradated color was exclu- could be produced, recognizing the necessity sively used by the Greeks in architecture: but, of identifying color effect with the individual if the conformation of their colored orna- effect of each architectural item treated. mentation be analyzed, it will be found full Color depends upon light for its existence; of significance. The realization that forms that is to say, for its visibility. Modifications ornamentally contrived were ultimately to be of tone occur in a color as the direct result of viewed as colored decoration, must undoubt- varying degrees of light intensity. As a con- edly have influenced their evolution. This crete example, imagine a sphere painted in a probability supplies an objective to research; brilliant color, and placed before us in posi- it becomes necessary to reconstruct the argu- tion that rays of sunlight strike it at an angle ments from which the Greeks developed cer- of from 40° to 50°. With the light rays falling tain practices, and incidentally to ascertain upon this object at angles which range from the applicability of their methods to modern the vertical to the tangent, a gamut of color problems. values will be produced which progress from The tendency of flat colors, applied in the brightest tone to the deepest shade of that

285 color. If, with this obser- tion of the principle. vation mind, sections of Comparatively large areas Greek polychrome detail of brown constitute the be studied, the observer most forceful notes in this will at once become con- striking detail. Were those scious of a specific impor- color masses applied to tance attached to the play EXAMPLES SHOWING THE MAN- flat surfaces without tone NER IN WHICH COLOR UNITS IN of light upon concave, COLORED ORNAMENTATION WERE variation, their uncompro- convex, and inclined sur- SEPARATED. OLYMPIA. COLOR- mising strength and inher- ING RED AND BLACK AND MUL- faces. The inter-relation BERRY AND BLACK ALTERNATING. ent harshness would react established between the detrimentally upon adja- structure of ornamental form, color, and cent delicate ornamentation. As these broad light, attaches a new interest of all extremely bands of dark color were essential to decora- practical nature to certain peculiarities in tive effect, their tone quality was modified by decorative expression which hitherto pos- a modelled treatment of the surfaces, in sessed primarily a stylistic significance. An anticipation of this color treatment. In exam- exhaustive examination of their achievement ining the section of this akroterion (which we during the three most fertile centuries, made illustrate, page 291) it will be found that from this new point of departure, dispels any these surfaces are modelled with undulations surprise at their conservatism in polychrome almost semi-circular in section, which, by the methods. By this association of media of action of light, produce an infinite variety of effect all imperative requirement is fulfilled, tones in the local color. These modulations of in that it identifies color quality with archi- tone cause the masses of harsh color to tectural effect, as tone value varies in direct become constituent elements of effect, correspondence with the conformation of instead of detached color units. form and the angles of planes. The circular antefixæ of the same building are a variation of the akroterion motif; but as EXAMPLES ILLUSTRATING THE GREEK the proportionate areas of (lark brown are METHOD FOR TONE DEVELOPMENT not of sufficient importance to assert them- BY MEANS OF LIGHT AND SHADE. selves detrimentally, they are not modelled. The gable akroterion of the Heraion at An equally important reason for the unmod- Olympia (a fragment of which is shown on ulated condition of these color masses is that, plate III) is a typical example of the applica- as flat tones they constitute a more advanta-

286 ANTEFIXAE FROM AEGINA. geous background to the central rosette, bold embossment of the red “egg” detail which is concave in sections in order that del- would assure that tone modulation necessary icate tone modulations may be produced. to mitigate the possible crtid1tv of these At the head of plate IV we illustrate an valuable color spots. As this decoration extremely interesting cornice decoration stands against the sky, these color masses from Olympia, reconstructed by Curtius and would, by reason of the diffusion of light, Adler. The material is terra cotta; a wide appear flat and detached. To compensate for range of tone values are most in,-enlotisly this condition, a triangular motif is designed developed in a single color by the peculiar in the centre of the “egg,” which produces a character of its modelling; a red fillet outline, hold equivalent for the high light. The use of which defines the constituent ornamental white to accentuate the direction of the items, serves the additional purpose of accen- scrolls is also ingeniously conceived, tuating and separating the various tone val- One of the most beautiful examples of this ues created. The comparative simplicity of its conventional use of concave and convex coloring is readily accounted for by its prox- forms, bounded by the defining fillet outline, imity to the cyma, which is usually one of the will be seen in the carved scroll-like roof dec- most forcefully colored items in a, poly- orations which beautify the Tomb of chrome structure; greater color elaboration Lysicrates. By this peculiar decorative treat- would have introduced an element of confu- ment, ornamental and color values were pre- sion through competitive interest; this purely served despite the disadvantages of location ornamental. MCIliber was consequently sub- against strong light. This magnificent archi- ordinated in effect to its architectural neigh- tectural decoration appears to embody the bor. The bold variation of the “egg and dart” fullest content of expression conceivable In which embellishes the lower part of this dec- that method of modelled treatment. oration, is an interesting instance of light and Unfortunately no trace of any contemporary color adjustment. In normal lighting the coloring survives, but there is no reason to

287 THE ARCHITECTURAL RECORD assume that it was a character may solitary exception to achieve decorative the prevailing value when assem- practlce of poly- bled for architectural chromy. The subdivi- embellishment. The sion of its detail is so Greek assortment of obviously planned pigments was ex- for color decoration, tremely limited ow- speculative recon- ing to their very ele- struction of its coIor mentary acquain- would be a compara- tance with chemical tively simple under- process; their prac- taking. tice was confined to The necessity for the use of the sim- maintaining the dec- plest color bases. orative integrity of The architectural colored items silhou- palette consisted of etted against the sky black, dark blue, was fully appreciated light blue, brown or by the Greeks; this mulberry, red, ochre, fact is illustrated in a yellow and white.* host of examples. III These color ele- a number of antifixæ ments are crude, the colored decora- with no apparent tion is set well within mutual tonal rela- the outer edges, with tion, so far as can be the intent to preserve Judged from the ornamental precision modern viewpoint, from light encroach- fully recognizing the ment and conse- fact that we are tem- quent loss in scenic peramentally inca- value. The “sawedge” pable of recording a or rudimentary “sun- reaction to a Greek A—OLYMPIA FRIEZE. B.—PROPYLAEUM. burst” treatment of C—OLYMPIA MOULDING. color effect equiva- the contour of the lent to that experi- great Heraion anthemion is devised with that enced by its author. In this treatise, however, object. research is directed to those color activities which react upon architectonic properties THE PRACTICAL PURPOSE SERVED BY rather than to those which aye individually THE “FILLET OUTLINE” CONVENTION expressive. As Greek polychrome embellish- IN COLORED ORNAMENTATION ment was a contributory decorative factor to Visibility of color from a distance is an architectural effect, its invariable use encour- essential requirement in architectural poly- ages the conviction that results obtained with chromy. The suitable palette must conse- color cannot have been unworthy of their quently consist of forceful tones or pigments exalted association; decorative ingenuity possessing a high degree of radiant energy; based upon sound argument alone could colors of such character have usually little harmonious relation, and in many cases are *The greenish color found in many fragments was prob- ably blue originally, as chemical analysis proves its deriva- mutually antagonistic. Our next problem is tion from the same form of copper as the blue; disintegra- to discover a method whereby colors of such tion would account for the greenish blue.

288 EXAMPLES OF CONCAVE AND CONVEX TYPES OF MODELLING FOR COLOR. have attained beauty with such uncompro- tion, through the contiguity of two unrelated mising media. and aggressive colors. Judging from of gener- When inherent color activity asserts itself al decorative utility, the result produced is antagonistically to artistic effect, it is neces- unfitting for artistic effect. This drawing con- sary to discover either the nature, or the pre- stitutes an uncompromising illustration of cise location, of such activity. When such that form of chromatic activity which exists reactions in color phenomena are recognized, in a group of decorative units treated with Greek ornamental conventions identified unrelated colors possessing appreciable radi- with color effect must next be studied, to ant properties. The mutual relation of these ascertain whether the origin of any of these units, in their repetition, parallels approxi- can be attributed to observations recorded. mately circumstances that prevail in architec- The color conditions which call primarily for tural ornamentation. If the visual effect of investigation might be illustrated with a col- this color arrangement be analyzed through ored diagram; this concerns the mutual reac- prolonged and intent contemplation, an tion of antagonistic col- unpleasant reaction will ors. This diagram should be experienced by those consist of a series of who are endowed with repeating geometrical or artistic sensibility; this ornamental figures, after increases as the critical the plan of diagram D, facility is concentrated. Plate III; two brilliant and Intensified examination unrelated colors being will reveal the fact that arranged in alternation artistic sensibility is irri- upon the subdivisions. To tated most violently at facilitate subsequent those points at which the observations it is advis- two colors make actual able that the size of the contact. From this obser- unit be not less than one vation we may formulate inch in its minimum a deduction: namely that dimension. With the the most injurious result completion of this dia- arising from this form of gram a specific color ANTEFIX—OLYMPIA. GILT color grouping proceeds activity comes into opera- ORNAMENTATION ON BLACK from actual color con-

289 EXAMPLES OF MODELLED TREATMENT FOR THE DEVELOPMENT OF TONE. VARIATION FROM FLAT COLORS. tacts. To test the accuracy of this observation, any peculiarity in decorative expression, and it is necessary to make another diagram with the phenomenon noted. the same colors and decorative unit, in which The most superficial examination will all color contacts are eliminated, by leaving a reveal the connection sought. The principle uniform space between each color unit. In of contact elimination, of the harmonizing this second diagram, it will be found that the factor in promiscuous color grouping, is quality of active antagonism between the col- demonstrated in a host of examples; the ors, which characterizes the first diagram, is method of its decorative application embod- considerably reduced; in fact, many colors ies one of the most characteristic features of which clash violently in diagram I. seem to Greek ornamental expression. A species of acquire a vibrant quality of considerable dec- outline, treated diversely, separates all orna- orative value when rearranged after the man- mental color units in Greek polychrome ner of diagram II. Having thus located the detail; the majority of examples are treated as focal point of chromatic discord, and found follows: a means for neutralization or elimination Type A The outline separating colors is (according to the tonal character of the colors raised, either rounded in section, or involved) our predetermined plan of proce- fiat after the manner of a fillet. The dure calls for a careful examination of Greek structural material forming the architectural detail designed for color, with raised outline is left uncolored in the purpose of tracing a connection between some instances; in others it is tinted.

290 THE ARCHITECTURAL RECORD

Plate IV, B technique is the Type B The ornamental motif is designed in apparent incorpo- such fashion that the spacing ration of the color between color detail is more or less decoration with uniform; these spaces have the the architectural appearance of outlines after the item. This cannot manner of “stencil-ties”; the ground he rated too high- color is left untreated. See one and ly, when we con- two-color antifixæ, page 286. sider that the Type C The outline is treated in a color dis quality of color tinct from those which it surrounds. effect differs radi- In certain examples where a repeat cally from that of ing motif is colored in alternating all other contribu- groups of three, colors, the outline tory factors In colors alternate correspondingly. See architectural three, four and five color moldings. effect. Type D The outline is delicately channeled, These invalu- or sharply sunk in narrow or broad able methods ish bands. Plate IV, 9. which the Greeks This technique of color separation in the devised are the various interpretations might be described as direct outcome of SECTION OF GREAT universal; rare deviations occur, from excep- GABLE AKROTERION their recognition tional causes only. Incompatible tones in OF THE HERAION of so-called “limi- crude pigments, were harmoniously trans- See Color Plate III. tations” of media, formed in Greek polychromy by this and disadvanta- method, the extreme simplicity of which geous phenomena. Much has been expressed endowed their color illumination with quali- regarding the cramped influence of these fac- ties of strength and dignity. The fact that the tors upon art expression; yet, all those deco- Greeks considered polychrome effect to he an rative processes or ornamental conventions indispensable adjunct to their sublime struc- which in by-gone ages have revealed the tural conceptions, permits us to assume that fullest content of beauty latent in substance, the result was not disturbing. originate in those “limitations.” One of the most valuable properties of this ( To be continued )

TREASURY OF GELA–COLOR SEPARATION BY BROAD ORNAMENTAL COLOR FILLETS.

291