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Homeopathic Self Care The Quick and Easy Guide for
the Whole Family Robert Ullman Digital Instant
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Author(s): Robert Ullman
ISBN(s): 9780964065482, 0964065487
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Well-organized and wonderfully useful
... an enormous contribution to the field-
From the Foreword by James S. Gordon, M.D., Clinical
Professor of Psychiatry and
Fam,ly Medicine, Georgetown
Medico! School, ond author of Manifesto
for a New Medicine

HAY FEVER BEE OR WASP

THE QUICK EASY GUIDE &

FOR THE WHOLE FAMILY
AL LERGIC
REACTIONS INDIGESTION SINUSITIS
.

COMMON COLD BACK PAIN MEASLES

•
FLU .

BURNS INSECT BITES

•
FOOD POISONING
HEADACHES BLADDER INFECTIONS
•
INSOMNIA
POISON OAK • NAUSEA SWOLLEN GLANDS

ROBERT U M A N N.D. L L ,

JUDYTH REICHENBERG-ULLMAN, N.D

HOMEOPATHIC

SELF-CARE
THE QUICK AND EASY GUIDE
FOR THE WHOLE FAMILY

ROBERT ULLMAN, N.D.

JUDYTH REICHENBERG-ULLMAN, N.D.

PRIMA PUBLISHING
 © 1997 BYJUDYTH REICHENBERG-ULLMAN AND ROBERT ULLMAN
All rights reserved. No part of this book may be reproduced or transmitted in any form
or by any means, electronic or mechanical, including photocopying, recording, or by
any information storage or retrieval system, without written permission from Prima
Publishing, except for the inclusion of quotations in a review.

Prima Publishing has designed this book to provide information in regard to the subject
matter covered. It is sold with the understanding that the publisher and the authors are
not liable for the misconception or misuse of information provided. Every effort has
been made to make this book as complete and accurate as possible. The purpose of this

book is to educate. The authors and Prima Publishing shall have neither liability nor re-
sponsibility to any person or entity with respect to any loss, damage, or injury caused or
alleged to be caused by the information contained in this book. The information pre-
sented herein is in no way intended as a substitute for medical counseling.

PRIMA PUBLISHING and colophon are registered trademarks of Prima Communica-

tions, Inc.

Library of Congress Cataloging-in-Publication Data

Reichenberg-UUman, Judyth.
Homeopathic self-care:the quick and easy guide for the whole family/
Judyth Reichenberg-Ullman and Robert Ullman.
p. cm.
Includes bibliographical references and index.
ISBN 0-761 5-0706-X
1. Homeopathy —
Popular works. 2. Homeopathy — Materia medica and therapeu-
tics. I. Ullman, Robert. II. Title.

RX76.R35 1997
615.5'32—dc21 97-1079
CIP
97 98 99 00 01 02 HH 10 9 8 7 6 5 4 3 2 1

Printed in the United States of America

HOW TO ORDER
Single copies may be ordered from Prima Publishing, P.O. Box 1260BK, Rocklin, CA
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terhead, include information concerning the intended use of the books and the number
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We dedicate this book to Dr. John Bastyr who, during his eighty-three

years of compassionate, selfless service as a naturopathic physician,

served as a model healer for us and for so many others, past, present,

and future. He taught us the importance of combining never-ending

study with tireless dedication to serving humanity.

May many follow in Dr. Bastyr's footsteps.

 . 1

Contents

Foreword viii

Why We Wrote This Book x

PART 1

What You Need to Know to Self-Prescribe

1 As Easy as One, Two, Three: How to Make the Most of This Book
Jenny Needs Your Help 3

Quick and Easy Homeopathy 3

What You Will Find in This Book 5

2. Homeopathy: Safe, Effective Family Medicine 7

The Fascinating Evolution of Homeopathy 7
The Healing Power of the Vital Force 9
Homeopathy Treats the Whole Person as a Unique Individual 10
Homeopathy Treats the Person, Not the Disease 10
A Unique Match: One Medicine at a Time 1

Clinical Success Stories 12

A Growing Body of Homeopathic Research 13
Why Choose Homeopathy over Conventional Medicine? 14
Which Conditions You Can Treat Yourself and Which You Should Not 14
The Success of Homeopathy in Treating Chronic Disease 17

rv
3. The Homeopathic Medicine Chest 20
What Are the Sources of Homeopathic Medicines? 20
What Makes a Medicine Homeopathic? 20
How Does One Take a Homeopathic Medicine? 21
Where Can One Find Homeopathic Medicines? 22
Topical Preparations 22
Storing and Handling Homeopathic Medicines 23

4. Your Homeopathic Self-Care Medicine Kit 24

Don't Leave Home Without It! 24
What to Include in Your Kit 25

5. Taking the Homeopathic Case 26

Practice Makes Perfect 26
Using the Medical Conditions Chapter and the Look,
Listen, and Ask Sections 26
The State of the Person 3
A Model Casetaking 31
Putting It Down on Paper 32
Keeping a Permanent Homeopathic Self- Treatment Record 33

6. Analyzing the Case and Selecting the Medicine 35

Analyzing the Case 35
Choosing the Best Medicine 36

7. Administering the Homeopathic Medicine 38

What to Expect from a Homeopathic Medicine 38
Repetition of the Dose 41
Changing the Medicine 42
Antidoting Factors 43

8. Practice Cases for Homeopathic Self-Care 45

Puncture Wound Ear Infection Common Cold
Burn Fever Minor Collision

Flu Abdominal Pain Heatstroke

Cough Sore Throat Shock After a Blood Draw
Bladder Infection Bronchitis Hay Fever

CONTENTS
PART 2
Medical Conditions You Can Treat Yourself

9. The Medical Conditions 53

Abscesses 57 Hepatitis, Acute 217
Allergic Reactions 61 Hives 222
Amebic Dysentery 66 Indigestion and Heartburn 225
Back Pain, Acute 72 Insect Bites and Stings 230
Bladder Infections 16 Insomnia 235
Bleeding 81 Leg Cramps and
Bruises 86 Growing Pains 240
Burns 89 Mastitis 243
Canker Sores 93 Measles 248
Carpal Tunnel Syndrome 97 Menstrual Cramps 253
Chicken Pox 102 Morning Sickness 258
Cold Sores (Herpes Simplex) 105 Motion Sickness 263
Colic 108 Mumps 267
Common Cold 114 Nausea and Vomiting 271
Conjunctivitis (Pinkeye) 120 Nosebleeds 276
Constipation 124 Pinworms 280
Coughs and Bronchitis 129 Poison Ivy, Oak, and Sumac 283
Cuts, Scrapes, and Puncture Sciatica 286
Wounds 135 Shock 291
Diaper Rash 139 Sinusitis 296
Diarrhea, Acute 142 Skin Infections: Boils, Folliculitis,

Dizziness 147 and Carbuncles 301

Ear Infections 151 Sore Throats 306
Fainting 156 Sprains and Strains 311
Fear of Flying 162 Stage Fright 314
Fever 165 Stomach Aches and Acute
Flu 169 Abdominal Pain 317
Food Poisoning 174 Styes 323
Fractures 179 Sunstroke, Heatstroke, and Heat
Fright 182 Exhaustion 327
Frostbite 186 Surgery 330
Gas 189 Swollen Glands 334
Grief, Acute 194 Teething 339
Hay Fever 197 Tendinitis 342
Headache 202 Thrush 345
Head Injury 208 Toothache 348
Hemorrhoids 2 12 Vaginitis, Acute 352

VI CONTENTS
PART 3
Materia Medica

10. All About the Medicines 359

Aconite 359 Drosera 379 Petroleum 395

Allium cepa 360 Euphrasia 380 Phosphorus 395
Antimonium Ferrwra Phytolacca 397
tartaricum 361 phospboricum 380 Podophyllum 397
Apis mellifica 362 Gelsemium 382 Pulsatilla 398
Arnica 364 Glonoine 382 R/7MS toxicodendron 399
Arsenicum album 365 Hepar sulpburis 383 Rwmex 400
Belladonna 366 Hypericum 384 Rata 401
Borax 367 Ignatia 385 Sarsaparilla 402
Bryonia 368 Ipecac 386 Sepw 403
Calcarea carbonica 369 Kali bicbromicum 387 Sffiea 404
Cantbaris 370 Lacbesis 388 Spongia 405
Car bo vegetabilis 371 LeJwm 389 Staphysagria 406
Causticum 372 Lycopodium 390 Sulphur 407
Cbamomilla 373 Symphytum 408
Cocculus 375 phospborica 391 Tabacum 409
Co/jfea 376 Mercurius 392 Urtica urens 410
Colocyntbis 377 Natrum muriaticum 393 Veratrum album 410
Cuprum 378 Nwx vomica 394

Answers to the Practice Cases 412

Appendix: How to Find Out More About Homeopathy 413

Glossary 417
Bibliography 420
Index 423

CONTENTS VII
Foreword

There is a powerful popular movement abroad in the land, a movement for a new,
more effective, less toxic, more humane, more people-centered kind of health care.
One of its rallying cries is "homeopathy."
Homeopaths tell us that tiny doses of substances that in larger doses can produce
symptoms, can be used to alleviate those symptoms, that like cures like. Though this

concept pervades the thinking and practice of most of the world's great healing tradi-
tions, including our own Greek Hippocratic medicine, it is foreign to most of us. It is

qualitative rather than quantitative. It seems "soft" to many, mystical, or, in the
words of its critics, even bizarre.
Yet homeopathy works. There are now close to 150 controlled scientific studies on
homeopathy, many of which document what Robert Ullman and Judyth Reichen-
berg-Ullman tell us in this book: homeopathic remedies are effective for common
conditions such as asthma, arthritis, and allergies.
We in the United States once believed that homeopathy worked. At the turn of the
century between fifteen and twenty percent of M.D.s were homeopaths. Then, in-
all

timidated by orthodox medical pressure, homeopathy faded from the American

healthcare scene. Now, it is making a powerful comeback. And the reasons are sim-
ple. It often works. It's inexpensive. Its principles are clear and its practice pleasing.
And, it has very few side effects.

In recent years, there have been a number of books about homeopathy. Some are
scholarly and technical. Fortunately, many are popular in the best sense of the word.
Homeopathy is a system of medicine that lends itself to self care. One can observe
one's own symptoms without technology and ask simple ques-
or a family member's
tions. Are there blisters on the skin, or red bumps? Is the nose running, or just the

eyes? Does it hurt more on the right or the left? Is it worse when you get up or go to
sleep? One can, based on the answers, prescribe and see the results.
In this book Robert Ullman and Judyth Reichenberg-Ullman, naturopathic physi-
cians, who previously focused on emotional problems, in particular, hyperactivity

VIII
and attention deficit disorder, give us the guidance we need to successfully treat our-
selves with homeopathic remedies. They give us succinct, easily remembered descrip-
tions of commonly used remedies and list "key symptoms" that distinguish one
condition from another. They give specific instructions for prescribing homeopathic
remedies and how to decide when a remedy is working and what to do if it isn't.

Homeopathic Self-Care is clear, kindly (as I read, I felt as though the authors were
at my side, gently helping me to see and think and prescribe), well organized and
wonderfully useful. It is a powerful tool for those of us who want to enhance our own
health and take back control of our health care and an enormous contribution to the
field. I will recommend this book to my patients.

James S. Gordon, M.D., Clinical Professor of Psychiatry and Family Medicine,

Georgetown Medical School and author of Manifesto for a New Medicine: Your
Guide to Healing Partnerships and the Wise Use of Alternative Therapies

FOREWORD ix
Why We Wrote This Book

JUDYTH
I had just moved to Seattle. That damp, bone-chilling first autumn knocked me for a

loop. was hacking and hawking and felt miserable. I tried herbs, vitamins, saunas,
I

and all of the other natural methods that I knew, to no avail. In desperation, I sought
the help of a naturopathic doctor who had the reputation of being an effective and
compassionate healer. He was Dr. John Bastyr. I felt a warmth and trust the minute I
met the kind, elderly gentleman. He reminded me of my father.
As I sat down with Dr. Bastyr, I knew that I had his full attention. He asked me a
few questions about my symptoms. "You have bronchitis? A nagging cough that
comes from a tickle in your throat? It's much worse when you lie down to go to bed?
That's a Rumex cough." Short and sweet. Just a few questions, and Dr. Bastyr confi-
dently handed me homeopathic Rumex (Yellow dock) to take until I felt better. I took
a couple of doses. The tickle in my throat disappeared almost immediately. The cough
improved significantly, and my normal energy and enthusiasm returned. I was
impressed!
My life took a dramatic turn thanks to Dr. Bastyr. I enjoyed being a psychiatric so-
cial worker, but natural healing intrigued me. On the locked psychiatric ward and
emergency room where I worked, we used powerful antipsychotic medications that
had disturbing side effects. At home I used only natural medicine; I didn't even take
aspirin. I began to feel like a hypocrite.

At this time, a naturopathic medical school opened in Seattle, named after Dr.
Bastyr. I my first year at the naturopathic college, I began to
decided to attend. During
read about homeopathy. The philosophy made more sense to me than any other type
of healing I had known. I had found my niche and my life's work.
 —

BOB
My introduction to homeopathy was through a local study group of the National
Center for Homeopathy. I first encountered the National Center at a health fair in
1975 when I was a graduate student in psychology at Bucknell University. I was fasci-

nated by the "little white pills" and by how quickly and dramatically they were able
to help people heal. Being an avid reader, I discovered that the books on homeopathy
were fascinating, although in 1975 the reading list was quite short compared with the
selection today.
I was introduced to naturopathic medicine that same year and, to my delight,
learned that homeopathy was part of the curriculum at the National College of
Naturopathic Medicine. I enrolled the following year, and, throughout the four years
of naturopathic medical school, I developed a growing interest in homeopathy. Dr.
Bastyr greeted our entering class, and I, too, was very impressed by this wise, gentle,

humble healer.

I saw homeopathy perform seeming miracles at the school clinic, curing both acute
and chronic illnesses —even in the hands of novices. Homeopathy was experiencing
its first resurgence in the United States since the 1920s, and I was thrilled to be part of

Reading The Science of Homeopathy by the Greek homeopath

this exciting time.

George Vithoulkas and attending conferences where he spoke was a great inspiration.
Little did I know at the time that I would some day be teaching for, and be the vice
president of, the International Foundation for Homeopathy (IFH), the organization
that he founded to promote homeopathy. Taking the IFH Professional Course was a
tremendous help to me when I first began my homeopathic practice.
—
Through fifteen years of practice a word that aptly describes the learning curve
I have finally become a homeopath. I feel blessed to be able to carry on the two-hun-
dred-year-old tradition of helping people, using the very best that nature has to offer.

JUDYTHANDBOB
Over the past twenty years, we have used homeopathy with ourselves and many thou-
sands of patients, for a wide range of acute and chronic illnesses. We cannot begin to
count the number of times we have seen immediate or overnight results from using
Arnica for bruises, sprains, and strains —nor the times we have relied on Cantharis
after accidentally touching a hot electric burner, only to find that the pain disappeared
instantaneously. We have found the same to be true with our patients. Even people
who have a hard time accepting the philosophy of homeopathy are often convinced of
its effectiveness after their first experience with using Arnica for a smashed finger or a
sprained ankle.

WHY WE WROTE THIS BOOK XI

 A number of books have already been written on the subject of homeopathic self-
treatment. Why did we decide to write our own guide? Although some of these books
contain accurate and useful information, we believed that we could write a simple,
practical, highly informative yet user-friendly guide to self-treatment.

Having treated patients for fifteen years, we have had many opportunities to learn
exactly which questions to ask. A busy practice has taught us to make the process of
acute prescribing as quick and efficient as possible. We have also learned a great deal
from fifteen years of teaching students how to treat themselves and their families. It is

extremely important to differentiate between which conditions are appropriate for

self-treatment and which are not. Many books on homeopathic self-care do not make
this distinction clear. Some are written by authors who have no clinical experience.
But most importantly, we wanted to write a book on self-treatment that would
lead to treatment success: a book that a bleary-eyed, half-awake parent could pick up
in the middle of the night to help a screaming baby; a book that contains enough in-

formation to provide effective self-care for many conditions, but not so many unnec-
essary details that the self-prescriber would become lost and discouraged; a book that
is laid out clearly enough that the best medicine will jump out at the reader.

We hope that we have accomplished all of these goals with this book. We use icons
extensively for visual appeal and quick learning. We include those medicines that you
are likely to use frequently and a few more uncommon medicines that you may need
when nothing else will do. We teach you to ask the questions and make the observa-
tions that we have consistently found invaluable in our own prescribing. For those of
you who do not yet have a homeopathic medicine kit, we make one available by mail-
order that you can use along with our book.
Homeopathic self-care for first-aid conditions is extremely simple to learn and is

often quickly and dramatically effective. Learning to self-prescribe for acute illnesses is

sometimes easy, and sometimes more complex, depending on the situation. With this

book, we simplify the process as much as possible. Homeopathy is a subtle yet power-
ful medical science and healing art. We hope this book inspires you to help yourself
and your family and that the wisdom and benefits of homeopathy will flourish.

We thank all of our teachers of homeopathy for sharing their wisdom and all of our
patients for their trust. Most of all, our gratitude goes to Dr. Samuel Hahnemann for
developing the brilliant science and art of homeopathy, which has helped so many in
their healing. We also give special thanks to Jeff and Gaby Hansen, parents of two
beautiful little girls, who worked closely with us to design this book so that a desper-
ate parent can find the one right homeopathic medicine for a screaming toddler in the
middle of the night. We are also grateful to Dr. James Gordon for his kind and in-

sightful foreword.

X" WHY WE WROTE THIS BOOK

PART 1

WHAT YOU NEED TO KNOW

TO SELF-PRESCRIBE
CHAPTER 1

As Easy as One, Two, Three:

How to Make the Most of This Book

JENNY NEEDS YOUR HELP

Jenny, your normally cheerful two-year-old, is not herself. It is the first snowfall of the
year, and Jenny bounds out of bed as fast as her legs will carry her to build a snow-
man. She remembers her down jacket and mittens but forgets her wool hat. The air is

quite nippy. Jenny is so enthralled with making huge snowballs for her snowman that
she doesn't even think about her cold head.
Two hours later, she comes running inside screaming that she has a terrible ear-
ache. One of her cheeks is beet red. You take Jenny's temperature and are surprised to
find that she has a fever of 102°F. You are astonished at how quickly your daughter
went from being perfectly fine to having a high fever and severe ear pain. Your spouse
wants to take her to the pediatrician immediately. Is there anything you can do to re-
lieve Jenny's pain naturally?
Homeopathy can help Jenny feel better rapidly and safely. To anyone who knows
homeopathy, this is a very clear-cut case. Jenny needs homeopathic Aconite. By read-
ing thisbook and learning how to prescribe for uncomplicated acute ear infections
and other minor and acute illnesses, you can help Jenny and others to find an effec-
tive, natural, drug-free alternative treatment for their everyday health problems.

QUICK AND EASY HOMEOPATHY

Homeopathy is extremely effective for most first-aid situations and many acute
illnesses. The methods you will learn here are designed to help you readily find an

3
effective homeopathic medicine for yourself and others. The methods are easy to
learn and quick to apply; they work very well if you carefully follow the principles
outlined in this book.
Prescribing homeopathic medicines for yourself and your family can be easy when
you follow a step-by-step process. Take time to study the process and learn the steps
of first aid and acute prescribing. Practice on yourself and your willing family mem-
bers until you know that you can apply the principles in the book to actual situations
and help someone get better rapidly and easily. The more you practice prescribing for
yourself and those close to you, the better your results will be. With even a little study
and practice, you will find that helping Jenny and others like her is often simple and
very rewarding. As you go through this book, be sure to use the examples and prac-
tice cases to enhance your understanding of the process so that you can use it when
you or your loved ones are ill.

An overview of the process follows. The actual steps and procedures will be cov-
ered in detail in later chapters.

Look/ Listen, and Ask

In order to select homeopathic medicines, you must first understand in exactly what
way the person you are treating is sick. Homeopaths call this process casetaking. It

involves observing and interviewing the sick person, even if it is yourself, until you
know all the ways in which the illness is affecting the person and how that condition
is different from his normal state. In other words, you are looking for everything
about that person that has changed since the acute illness symptoms began to de-
velop. These changes are what make up the symptom picture of the illness. You will

match this symptom picture to descriptions of various homeopathic medicines so that

you can decide which one medicine is appropriate for the person and the illness.

Three steps are involved:

1. Look carefully at the person who is ill in her environment.

2. Listen to what she says to you about her illness.

3. Ask the right questions to get the information you need to discover the correct
medicine to help her heal.

These steps of "look, listen, and ask" are the "one, two, three" of homeopathic
casetaking. For each illness we cover in this book, you will be guided through these
steps so thatyou can collect all the information you need quickly and easily. Once
you know what kind of medical condition you are treating, use the Look, Listen, and
Ask sections (indicated by the eye, ear, and question mark icons) under each medical
condition to guide you in taking the case history.

PART 1 I WHAT YOU NEED TO KNOW TO SELF-PRESCRIBE

Analyze the Case and Choose the Medicine
After you have taken the sick person's case, you will need to organize, understand,
and analyze the information you have collected. You need to make a list of the symp-
toms, noting anything about the symptoms that is intense, striking, or unusual. This
makes up the symptom picture that you will match with possible homeopathic medi-
cines until you determine which is the best one for the person who is ill.

This three-step process will help you find the correct medicine:

1. Analyze the illness and the symptoms you have collected. Understand the spe-
cific kind of problem the person you are treating has and what he is experiencing as a
result of the illness.

2. Find the type of illness that is closest to the person's problem in the list of condi-

tions. Use the casetaking steps and the descriptions of each homeopathic medicine
listed under that condition to select the medicine that best matches the individual's
symptoms.
3. Read, in the Materia Medica section of this book (Part 3), about the homeo-
pathic medicine you have chosen to see if it fits the person and the illness as well as
you thought. If it doesn't really match well after all, continue to look for another
medicine that matches better, and give the person that one.

These are the three steps of homeopathic case analysis that you will use to select

the correct medicine. You will be guided through each step of this process in Chapters
6 and 9.

Give the Medicine

Once you have selected the best medicine, give it, then observe whether the person
gets better. The proof of a homeopathic medicine's effectiveness is in its catalyzing an
observable healing process that definitely improves the person's condition.
The steps in this stage are:

1. Give the medicine.

2. Observe the medicine's effects on the person.
3. Repeat the medicine when needed, or change it if it is not working.

These three steps constitute administering the homeopathic medicine and evaluat-
ing the results. We will more fully describe each step in Chapters 7 and 9.

WHAT YOU WILL FIND IN THIS BOOK

It is possible to use this book on several different levels of interest and involvement,
depending on your needs. First, we'll introduce you to homeopathy itself —what it is,

CHAPTER 1 I AS EASY AS ONE, TWO, THREE: HOW TO MAKE THE MOST OF THIS BOOK
how it works, and what it can do. We will describe the medicines, show you how to
get a homeopathic medicine kit, and tell you how to use the medicines properly. Then
we will lead you in depth through a simplified form of the process homeopaths use in

prescribing for minor illnesses, including all the steps listed above: taking the case, an-
alyzing the case, and giving the homeopathic medicine.
Some of you, we know, will not take the time to learn the whole process that gives
the best results, hoping for a quick-and-easy solution to your problem. You can also
find that here if you turn to Part 2: Medical Conditions. There we provide basic infor-
mation on each medical condition and its symptoms and complications. Charts for
each condition list the most useful medicines for treating that problem, their key indi-
cating symptoms, and other symptoms that can help you decide which medicine to
give. Complete information on dosage and what to expect from the medicine is also
provided for you.
In Part 2 there are also simple pointers for finding the correct homeopathic medi-
cine, drawn from our own experience in treating thousands of patients. If you cannot
decide which homeopathic medicine to give someone or to take yourself, or if you
want additional healing help, we also provide other naturally oriented self-care sug-
gestions that can help resolve the illness.
For a more in-depth description of each homeopathic medicine, turn to the Mate-
ria Medica section in Part 3; it can help you decide if the medicine you are considering
matches other features of the person who is sick. You can use this section to become
familiar with the medicines in your kit so that you will readily recognize them when
you need them.
The Appendix, How to Find Out More About Homeopathy, will guide you to
books on homeopathy and sources of homeopathic medicines. The Glossary will help
you understand the language of homeopathy, which may not yet be familiar to you.
Whether you are a serious student of homeopathy or you just want to feel better,
you will find something useful in this book. If you can, take some time to read the in-
troductory material and learn as much as you can about how to prescribe. Otherwise,
cut to the chase and quickly find the right medicine for the symptoms at hand. Do
what works for you. The rest of the information is here for you when you need it. We
want you to get the best results possible and use homeopathy in a way that truly helps
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PART 1 I WHAT YOU NEED TO KNOW TO SELF-PRESCRIBE

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 BACKGROUND.
The colour of the background of some of the pediments of the
Greek temples is known to have been blue, and if we admit that the
bodies of the figures were painted at all, it could have been no other
colours. The flesh colour being necessarily some kind of red, would
have been injured by a red ground, while yellow would have
advanced to the eye, and can form a background only to white, the
only colour more advancing than itself. I believe, and it is generally
accepted as proven, that the ground was blue; and as there are
many who stop here, admitting the blue ground, but denying the
colouring of the figures, a portion of the frieze has been left in this
stage, to enable them to form a judgment upon it.
 THE HAIR.
When I first attempted the experiment, I had a strong instinct that
the hair should be gold; but not having the authority for it, I was
induced to try it both brown and grey; neither of these colours,
however, was satisfactory, but having afterwards seen the collection
of terra-cottas in the Louvre, I became convinced that I was right in
supposing that they should be gold. In all these specimens the hair
is of an intense red, which can only have been the ground of gilding,
now obliterated. In the Elgin frieze, in the British Museum, may still
be seen the holes which were drilled to fix on the metallic trappings,
which were also, no doubt, gilt; and were these affixed in our
experiment, the effect would be much more harmonious.
 THE FLESH.
The most difficult point to determine, is the colour of the flesh. It
is evident that the Greeks would avoid every attempt at representing
nature. Whatever colours they used, we may be sure that they were
treated conventionally only, so as to suggest the nature of the object
represented, yet not to attempt a direct imitation; we must feel,
however, that they went to the utmost limit of conventionality.
M. Hittorff has in his possession a fragment of a figure from
Selinus, retaining a flesh colour very similar to that which we have
employed.
Although colour has been found on the hair, eyes, lips, and
drapery of Greek fragments of marble, no traces have as yet been
found on the nude portions. And those who believe that the marble
of the Greeks was only stained and not painted, build up a
triumphant argument on this. The explanation, however, is very
simple; it is evident that the smooth portions of a coloured object
would lose their colour first under the influence of time, and, in fact,
all traces of colour that ever are found, are found in the folds and
crevices, from which it is fairly argued that the surface of which they
formed a part was of that colour.
Even in the Alhambra, which was entirely covered with colour, and
which is so many centuries nearer our time than the Greek temples,
colour is but rarely found on the surface: it is only by what is found
in the depths and hollows, that we know how the whole was
coloured.
On the terra-cottas of the Louvre there are figures where the
white ground with which the whole surface of the terra-cottas was
covered, remains perfect over the whole of the figures, at the same
time that a fragment of flesh tint still remains upon some portion of
it. Were this absent, it might equally well be argued, that the Greeks
were in the habit of painting the flesh white on their terra-cottas.
 HORSES.
In seeking a colour for the horses, I felt the choice lay between
red, white, black, or grey; further, that whatever colour was
employed, it would be in such a way as best to define and
distinguish the various portions of the groups. I do not think that a
single colour, or shades of the same colour, would have fulfilled this
condition. White horses would have been too prominent, black too
sombre. The red I have employed appeared to be the best colour for
the principal horses, as best balancing by their masses the blue
background, whilst the relief between horse and horse could be
harmoniously obtained by the employment of grey for the back
horses. Authority for this mode of treatment exists on the Greek
vases and in the Etruscan tombs, where, when one horse passes
before another, there is a change of colour. As the horses in this
frieze are in ranks of nine, it is most probable that there was still
more variety of colour than I have attempted, to keep the various
groups together.
 THE DRAPERIES.
I was led to adopt this mode of treating the draperies from the
inspection of the Louvre collection of terra-cottas, where the
draperies are very well preserved. They are mostly pale blue and
pale pink, the pale blue with a pink border and the pink drapery with
a blue border. I have arranged the draperies in the way I felt most
conducive to the general effect, so as to bring the whole into
harmony. The colours of the other portions of the dresses are
suggested by the materials which they may be presumed to
represent.
In placing this experiment before the public, I am quite aware
how vain would be the hope that I had produced a result worthy of
the Greeks; where there is so little to guide, success is well nigh
impossible. The most that I could hope to attain was to produce a
result that might have existed, and that would not have been
discordant with the other portions of a Greek monument. My failures
even would answer a useful purpose, if they served to direct other
minds to work out this most interesting problem, and to induce
further researches on the monuments of Greece, which have hardly
yet been examined in this direction, because they have not as yet
been examined with faith, but rather with reluctance.
The experiment cannot be fairly tried till tried on marble, and in
conditions of space, atmosphere, &c., similar to those under which
the originals were placed.
I would ask those critics who stand on the ground of traditional
opinion, not too rashly by hard words to attempt to stop the inquiry
which this experiment may suggest. The facts are too strong to be
put aside by any opinion. If all who are anxious for the truth will
only seek it, there is little doubt that we may approach, if we do not
reach it.
 I have done all in my power to aid the cause. I have stood in the
breach, and shall be content should others walk over me to a more
complete victory. I am only anxious, in the meanwhile, that the
Greeks should not be condemned on my account.

I have no authority whatever for the colouring of the monument

of Lysicrates in the Great Transept. One fact deserves to be
recorded, the beautiful bas-reliefs of the frieze were absolutely
invisible from below, when in white, and this made me certain that it
was a monument designed to receive colour, and I therefore
determined to attempt its restoration.
OWEN JONES.

Crystal Palace, June, 1854.

 NOTE BY MR. PENROSE.
I have seen no reason to alter my opinion (quoted p. 6) that the
surface of the marble played a considerable part in the general
effect, and that it was not concealed with paint, but tinged or
stained in some manner to the proper tone. An extensive and careful
examination of the Pentelic quarries by the orders of King Otho has
shown that large blocks such as were used at Athens are very rare
indeed. The distance also from the city is considerable: whereas
there are quarries on Mount Hymettus at little more than one-third
of the distance (and most convenient for carriage), which furnish
immense masses of dove-coloured marble (much prized, it would
seem, by the Romans, Hor. ii. 18), and inferior in no respect but that
of colour to the Pentelic. It could therefore only have been the
intrinsic beauty of the latter material that led to its employment by
so practical a people as the Athenians. With respect to the use of the
outline traced with a sharp point (p. 16), had this been a provision
for repaintings, its absence from the Doric echinus is at least
conclusive that there was no ornament painted on that member; for
on no part of the architecture would the difficulty of reproducing the
pattern have been greater. But since these outlines are found
indifferently both on small and large mouldings, it seems to be a
sound conclusion which limits the painted ornaments to the parts so
outlined.

REPLY.

I do not think that, with our present ideas of economy, we are

able to appreciate the motives of the Athenians in choosing their
marble from the Pentelic quarries in preference to those of Mount
Hymettus. We must remember that the Greeks built for their gods;
and the Pentelic marble, by presenting greater difficulties in its
acquisition may have been a more precious offering. I can more
easily understand this than the use of granite by the Egyptians,
which was sought for from quarries much more distant, and
presented difficulties of workmanship many times greater.
Mr. Penrose has examined most minutely the capitals of the
columns of the Parthenon, and is convinced that no outline of any
kind exists upon them; but I am not so convinced that there never
was one there, because, although outlines are found on fragments
of some of the mouldings, they do not exist everywhere on the same
moulding: it is only under favourable circumstances that the outline
has been preserved. A Doric echinus may yet be found with outlines
upon it.
OWEN JONES.
 HISTORICAL EVIDENCE.

NOTE.

I have been favoured by Mr. G. H. Lewes with the following

arguments derived from a perusal of Quatremère de Quincey,
Winckelmann, and the passages of ancient authors which are
supposed to throw light on this question; these I have submitted to
a well known authority on Greek literature, Mr. W. Watkiss Lloyd, and
place here his observations on the argument of Mr. Lewes, as I am
most anxious that the public should be in possession of whatever
can be said on either side.
 HISTORICAL EVIDENCE.

The idea of the Greeks having painted their statues is so

repugnant to all our modern prejudgments, that the mind is slow in
familiarising itself with the fact, even when indisputable evidence is
brought forward. The Greeks were artists of such exquisite taste,
and of principles so severe, that to accuse them of having painted
statues, is to accuse them of committing what in our day is regarded
as pure “barbarism.” The Greeks did not aim at reality, but at
ideality; and the painting of statues is thought to be only an attempt
to imitate reality.
Nevertheless, however startling, the fact remains: the Greeks did
paint their statues. Living eyes have seen the paint. Living testimony
supports the testimony of ancient writers, and all that will be
necessary in these pages is to furnish some of the principal points of
evidence.
In the first place, the reader must get out of all sculpture galleries,
erase from his mind all preconceptions derived from antique remains
and modern practices. Having done so, let him reflect on the
historical development of sculpture, and he will see this idea of
painted figures falling in its true place.
Sculpture of course began in Greece, as elsewhere, with idols. It is
the custom of all barbarous nations to colour their idols. The
Egyptians, as we know beyond all doubt, not only coloured, but
dressed theirs. So did the Greeks. It may be a question, whether the
Greeks borrowed their art from the Egyptians, improving it, as they
did everything else. Let scholars decide that question. This, however,
is certain, that in either case the Egyptian practice would obtain—
 1st. If the Greeks borrowed from the Egyptians, they would
borrow the painting and dressing.
2nd. If they did not borrow—if their art was indigenous—then it
would come under the universal law of barbarian art; and painting
would, at any rate in the earlier epochs, have been employed. (We
know that both painting and dressing were employed in all epochs.)
This being so, and the custom being universal, unless the change
from painted to unpainted statues had been very gradual, insensibly
so, the man who first produced a marble statue without any addition
would have been celebrated as an innovator. No such celebrity is
known.
Ancient literature abounds with references and allusions to the
practices of painting and dressing statues. Space prevents their
being copiously cited here. Moreover, many of them are too vague
for direct evidence. Of those which are unequivocal a few will be
given.
Dressing Statues.—Pausanias describes a nympheum, where the
women assembled to worship, containing figures of Bacchus, Ceres,
and Proserpine, the heads of which alone were visible, the rest of
the body being hidden by draperies. And this explains a passage in
Tertullian (“De Jejun.,” 16), where he compares the goddesses to
rich ladies having their attendants specially devoted to dress them—
suas habebant ornatrices. For it must be borne in mind that the
Greek idols, like the saints in Catholic cathedrals, were kept dressed
and ornamented with religious care. Hence Homer frequently alludes
to the offerings of garments made to propitiate a goddess; thus, to
cite but one, Hector tells Hecuba to choose the most splendid peplos
to offer to Minerva for her aid and favour. Dionysius, the Tyrant of
Syracuse, according to a well known anecdote, stripped the Jupiter
of his golden cloak, mockingly declaring that it was too heavy for
summer, and too cold for winter.
“The golden cloak of the Sicilian Jupiter seems scarcely to
illustrate the subject of dressing statues—as it was probably not
drapery, not cloth enriched with gold—but solid, like the golden
 Ægis of the Minerva of Phidias, which could be removed and
replaced.”—W. W. Lloyd.
These dressed statues were for the most part dolls, however
large. The reader must remember that the dolls of his nursery are
the lineal descendants of ancient idols. Each house had its lares or
household gods; each house had its dressed idols. Statues, in our
sense of the word, were, it may be supposed, not dressed; but that
they were painted and ornamented there seems to be ample
evidence.
Coloured Statues.—If we had no other evidence than is afforded in
the great variety of materials employed—ivory, gold, ebony, silver,
brass, bronze, amber, lead, iron, cedar, pear-tree, &c., it would
suffice to indicate that the prejudice about “purity of marble” is a
prejudice. The critic may declare that a severe taste repudiates all
colour, all mingling of materials; but the Greek sculptors addressed
the senses and tastes of the Greek nation, and did so with a view to
religious effect, just as in Catholic cathedrals painted windows,
pictures, and jewelled madonnas appeal to the senses of the
populace.
The Greeks made statues of ivory and gold combined. They also
combined various metals with a view of producing the effect of
colour. One example will suffice here. Pliny tells us (lib. xxxiv. cap.
14) that the sculptor of the statue of Athamas, wishing to represent
the blush of shame succeeding his murder of his son, made the head
of a metal composed of copper and iron, the dissolution of the
ferruginous material giving the surface a red glow—ut rubigine ejus
per nitorem æris relucente, exprimeretur verecundiæ rubor. Twenty
analogous examples of various metals employed for colouring
purposes might be cited. Quatremère de Quincey, in his great work,
“Le Jupiter Olympien,” has collected many.
The reader may, however, admit that statues were made of
various materials, and that the bronze statues—which were
incomparably more numerous than the marble, may have been
tinted, but still feel disinclined to believe that the marble statues
were ever painted. A few decisive passages shall be adduced.
 Let it be remembered that Socrates was the son of a sculptor, and
that Plato lived in Athens, acquainted with the great sculptors and
their works; then read this passage, wherein Socrates employs, by
way of simile, the practice of painting statues: “Just as if, when
painting statues, a person should blame us for not placing the most
beautiful colours on the most beautiful parts of the figure—inasmuch
as the eyes, the most beautiful parts, were not painted purple, but
black—we should answer him by saying, Clever fellow, do not
suppose we are to paint eyes so beautifully that they should not
appear to be eyes.” (Plato, “De Repub.” lib. iv., near the beginning.)
This passage would long ago have settled the question, had not
the moderns been pre-occupied with the belief that the Greeks did
not paint their statues. They, therefore, read the passage in another
sense; many translators read “pictures” for “statues.” But the Greek
word ανδριας signifies “statue,” and is never used to signify “picture.”
It means statue, and a statuary is called the maker of such statues,
ανδριαντοποιος. (Mr. Davis, in Bohn’s English edition of Plato, avoids
the difficulty by translating it “human figures.”)
“This passage is decisive as far as it goes, but it does not touch
the question of colouring the flesh. It proves that as late as Plato’s
time it was usual to apply colour to the eyes of statues; and
assuming, what is not stated, that marble statues are in question,
we are brought to the same point as by the Æginetan marbles, of
which the eyes, lips, portions of the armour and draperies were
found coloured. I forget whether the hair was found to be
coloured, but the absence of traces of colour on the flesh, while
they were abundant elsewhere, indicates that if coloured at all it
must have been by a different and more perishable process—by a
tint, or stain, or varnish. The Æginetan statues being archaic, do
not give an absolute rule for those of Phidias. The archaic Athenian
bas-relief of a warrior in excellent preservation, shows vivid colours
on drapery and ornaments of armour, and the eye-balls were also
coloured; but again, there is no trace of colour on the flesh.”—W.
W. Lloyd.
 Here is a passage which not only establishes the sense of the one
in Plato, but while unequivocally declaring that the ancients painted
their statues gives the reason why the paint is so seldom
discoverable in the antique remains. It is from Plutarch (“Quæst.
Roman.” xcviii., at the end): “It is necessary to be very careful of
statues, otherwise the vermilion with which the ancient statues were
coloured will quickly disappear.”
“This passage refers to archaic sacred figures, and at Rome (not
in Greece), where after providing for the sacred geese and
ganders, the first duty of certain officials on taking office was to
furbish the agalma, or statue, which was necessary on ‘account of
the quick fading of the vermilion with which they used to tinge the
archaic statues.’ This is an accurate translation and a literal—and
implies a difference between the archaic and the more modern in
respect of colour, though not necessarily excluding all colour from
the latter.”—W. W. Lloyd.
Had this passage been generally known the dispute could never
have maintained itself. There is nothing equivocal in the use of the
word μιλτινον, which means “vermilion;” nothing which admits of
doubt in the phrase ῳ τα παλαια των αγαλματων εχρωζον. And there
are abundant notices extant which illustrate it. One will suffice. The
celebrated marble statue of a Bacchante by Scopas is described as
holding, in lieu of the Thyrsus, a dead roebuck which is cut open,
and the marble represents living flesh. People have tried to explain
this by saying that Scopas discovered coloured veins in the marble,
which he used to indicate living flesh. The explanation is absurd. In
the first place veins do not so run in marble as to represent flesh; in
the second, unless statues were usually coloured, such veins, if they
existed, would be regarded as terrible blemishes, and the very thing
the Greeks are supposed to have avoided—viz., colour as
representing reality—would have been shown.
But colour was used, as we know, and Pausanias (“Arcad.” lib. viii.,
cap. 39) describes a statue of Bacchus as having all those portions
not hidden by draperies, painted vermilion, the body being of gilded
wood. He also distinctly says that the statues made of gypsum were
painted, describing a statue of Bacchus γυψου πεποιημενον, which
was—the language is explicit—“ornamented with paint”
επικεκοσμημενον γραφη.
“This statue was apparently ithyphallic, and probably archaic.
Not drapery, but ivy and laurel, concealed the lower part of it. The
colour of the exposed part was not local, but applied to the whole
of it.”—W. W. Lloyd.
Virgil, in an epigram, not only offers Venus a marble statue of
Amor, the wings of which shall be many-coloured and the quiver
painted, but he intimates that this shall be so because it is
customary—
Marmoreusque tibi, Dea, versicoloribus alis
In morem pictâ stabit Amor pharetrâ.

And in the seventh Eclogue, Virgil, speaking of the statue of

Diana, describes it as of marble with scarlet sandals bound round
the leg as high as the calf.
Si proprium hoc fuerit, levi de marmore tota
Puniceo stabis suras evincta cothurno.

And there is a passage in Pliny which is decisive, as soon as we

understand the allusion. Speaking of Nicias (lib. xxxv. cap. 11), he
says, that Praxiteles, when asked which of his marble works best
satisfied him, replied, “Those which Nicias has had under his hands.”
“So much,” adds Pliny, “did he prize the finishing of Nicias”—tantum
circumlitioni ejus tribuebat.
The meaning of this passage hangs on the word circumlitio.
Winckelmann follows the mass of commentators in understanding
this as referring to some mode of polishing the statues; but
Quatremère de Quincey, in his magnificent work “Le Jupiter
Olympien,” satisfactorily shows this to be untenable, not only
because no sculptor could think of preferring such of his statues as
had been better polished, but also because Nicias being a painter,
not a sculptor, his services must have been those of a painter.
 What were they? Nicias was an encaustic painter, and hence it
seems clear that his circumlitio—his mode of finishing the statues, so
highly prized by Praxiteles—must have been the application of
encaustic painting to those parts which the sculptor wished to have
ornamented. For it is quite idle to suppose a sculptor like Praxiteles
would allow another sculptor to finish his works. The rough work
may be done by other hands, but the finishing is always left to the
artist. The statue completed, there still remained the painter’s art to
be employed, and for that Nicias was renowned.
Even Winckelmann (“Geschichte der Kunst,” buch I. kap. 2), after
noting how the ancients were accustomed to dress their statues,
adds, “This gave rise to the painting of those parts of the marble
statues which represented the clothes, as may be seen in the Diana
found at Herculanæum in 1760. The hair is blonde; the draperies
white, with a triple border, one of gold, the other of purple, with
festoons of flowers, the third plain purple.”
There are still traces visible of gilding in the hair of statues. Even
the Venus de’ Medici has such. And the bored ears speak plainly of
earrings.
While the testimony of antiquity is thus explicit, there is the still
more convincing testimony of living eyes, which have seen this
painting on statues. The celebrated Swedish traveller, Akerblad, says,
“I am convinced that the practice of colouring marble statues and
buildings was much more frequent than is supposed. The second
time I visited Athens, I had opportunity of narrowly inspecting the
frieze of the Temple of Theseus, and I came away convinced it had
been painted.” Quatremère de Quincey mentions statues he has
seen, and refers especially to the Apollo in the Louvre, made of
Pentelic marble, almost all over the naked surfaces of which a trace
of red was faintly perceptible. The same with a Diana at Versailles;
but he adds, “these traces grow daily fainter.” The eyes and mouth
of the colossal Pallas de Velletri still retain the violet colour.
Such are a few of the evidences. On examining them, we find
them not only unequivocal in themselves, but complementary of
each other. Living testimony, supposing it to be accepted without
demur, would not suffice to settle the question of what was the
ancient practice; for it might not unreasonably be argued that these
traces of painting on the statues are only evidences of a degenerate
taste—like our whitewashing of cathedrals—and no evidences of
Greek artists having perpetrated such offences against taste. But
when it is seen, by the testimony of ancient writers, such as Plato,
Pliny, Plutarch, and Virgil, that the Greek artists did colour their
statues, the fact of the statues being discovered with traces of
colour is explained, while on the other hand this fact helps to clear
away all trace of doubt which might linger in a supposed
equivocalness in the passages from ancient writers.
G. H. LEWES.

“As regards archaic sculpture in Greece, we may be considered to

have decisive proof from Pausanias and others, that the ancient
sacred figures, that were rather venerated as idols than admired
for art, were often entirely coloured—flesh and drapery with
vermilion, perhaps conventionally and rudely enough, as we find
on the archaic vases, the flesh of women painted white, and that
of men black.
The marble statues of Ægina, and others, that are works of truly
fine art, offer a second form of the application of colour. Here
the eyes, lips, draperies, ornaments, and details of arms, have
their true local colour, but the monuments themselves only give
us the negative evidence with respect to the flesh, that if
coloured at all, it must have been less solidly. Unless it were
tinged or stained, it is difficult to understand how the effect of
the coloured part could have been otherwise than very
disagreeable—spotty, patchy, crude, ghastly to the last degree;
but the experiment might be tried.
On the other hand, it is most certain that in the chryselephantine
statues, the Minerva of the Parthenon, the Jupiter Olympian, the
Juno of Argos, by Phidias, and by Polycletus, the greatest variety
of colour was applied throughout—or rather variety of colour was
given by the different materials of which these figures were
 composed, ivory, gold, various coloured woods, stones and
gems. But painting or staining in the proper sense of the words,
was certainly applied to some portions; as, for instance,
Pausanias states that the robe of Jupiter had lilies painted on it.
The application of colour to the details of the architecture at least,
and to portions of the architectonic sculpture, would be
absolutely required, to harmonise them with the chief object in
the temple itself.
Lastly, as to the flesh of marble statues of the best age, no rule
can be deduced for this from any practice that obtained in
primitive times, or from chryselephantine works, which seem to
have been in designed contrast in the whole of their treatment.
The argument for colour on marble flesh of the best age, from
existing remains, so far as I am aware, is equal to zero. But the
passage respecting Nicias and Polycletus, is of very great force.
There is no escape from its application to marble statues, nor
from the great skill that there was occasion and scope for in the
circumlitio. Whatever this tinging or colouring may have been,
we may be sure that it was so employed as to heighten the
purest effects. The edge and sharpness, and smoothness and
brilliancy, of the material, cannot have been destroyed by it;
rather sobered it may be, but still enhanced. Doubtless it aided
the peculiar glories of sculpture, the display of forms, by
rendering them more visible—idealised rather than imitated
nature, and treated every part under the law of regard to the
supreme intention and sentiment of the whole. The same
remarks (such as they are) apply to bas-reliefs, which, however,
have difficulties of their own.
Vitruvius (vii. 9), after describing the preparation of minium or
vermilion, goes on to speak of its liability to change colour from
the action of direct sunlight, and gives instructions for protecting
it; he does not mention the medium employed with the colour,
but as it is insoluble, we must assume the use of size, as in other
 instances, or gum, &c. The wall he is thinking of is apparently
stucco.
‘When the wall is painted with vermilion and dry, lay on with a
brush (of bristles, a hard or rough brush), Punic wax melted over
the fire, and a little tempered with oil; then by means of hot
coals in an iron vessel, warm the wall well and make the wax
run, and equalize itself; afterwards rub it with a wax candle and
clean cloths, as nude marble figures are treated.’
Pliny (xxi. 14) gives the preparation of Punic wax by a process of
which the chemical result, according to Dr. Turner, was a soap of
twenty parts wax to one of soda. He also (xxxiii. 7) describes the
same process as Vitruvius above, apparently copying him or a
common authority. The wax, he says, is applied hot, heated with
coals (admotis gallæ carbonibus, whatever they may be), and
then rubbed with wax candles, and afterwards with clean linen
cloths, as marbles also become bright (or shiny), (sicut et
marmora nitescunt).
Now how much of the treatment thus expressed applies to
sculpture? Putting the case most strongly, it might be said,—the
whole, and that nothing less than the whole, will accord with the
circumlitio of statues mentioned elsewhere, and by applying the
whole we might connect these notices with those of Plutarch and
Pausanias of the employment of vermilion in colouring statues,
though these latter go for very little as applicable to the best
works of the best time. The construction of the words of both
authors imply in strictness that the wax and linen rubbings of
statues were applied to the wax previously laid on and heated.
The treatment of statues is referred by Vitruvius specially to the
nude; it seems, therefore, to have had connection with a design
to assist or heighten the effect of the sculptured nude flesh, as
distinguished from drapery, &c. This would be natural enough,
though no colours were employed, or not for every part, but if
they were we must suppose that Vitruvius has vermilion in his
mind leading him to limit his observation. Pliny’s expression
 shows that even assuming colour there is no opaqueness in
question.
If a verdict were to be given on this evidence as it stands, I am
much disposed to think that it must be in favour of a tinge of
vermilion, protected by a brilliant varnish, having been applied to
the nude portions of (? some) marble statues in such a manner
that both colour and varnish assisted the fine surface and
brilliant effect of the lucent marble. So much for this part of the
evidence and its bearing on a final decision.”—W. W. Lloyd.
 MATERIAL EVIDENCE.

In 1836 a committee was appointed by the Royal Institute of

British Architects, to examine the Elgin Marbles in the British
Museum, in order to ascertain whether any evidences remained as
to the employment of colour in the decoration of the architecture or
sculpture.[5]
5. Extracted from the report of the committee, published in the Transactions
of the Royal Institute of British Artists, Vol. I. Part II. 1842.
This committee consisted of Mr. Hamilton, Sir Richard Westmacott,
Sir Charles L. Eastlake, R.A., Mr. Cockerell, R.A., Dr. Faraday, and
Messrs. Angell, Donaldson, and Scoles. The committee found on
several architectural fragments from the Erectheum and the
Propylaea of Athens, traces of ornaments which had been engraved
with a tool on the surface of the marble, and also verified a
difference of texture in the parts occupied by the coloured surface
from the ground, but were unable to decide “whether the parts now
smooth and rough were originally in that state, or whether the part
now rough has become so in consequence of the action of the
atmosphere upon it, the smooth part having been protected from
that action by gilding or colour.”
No traces of colour were discovered on any of the figures of the
bas-reliefs, metopes, or sculptures of the pediments, but it was
stated to the committee by Mr. Sarti, the modeller, who was engaged
in taking moulds of the whole series of the Elgin Marbles belonging
to the Parthenon, “that the whole surface of the marbles had been
twice washed over with soap leys, subsequently to their having been
moulded on former occasions, as that or some other strong acid is
necessary for the purpose of removing the soap which is originally
put on the surface in order to detach the plaster of the mould; Dr.
Faraday was of opinion that this circumstance was of itself sufficient
to have removed every vestige of colour, which might have existed
originally on the surface of the marble.”
A letter was read to the committee, from Mr. Bracebridge,
“forwarding a memorandum of colours and patterns from the
Erectheum; they are drawn from the northern portico of that
conjoint temple of Minerva Polias, Pandrosus, and Erectheus, so well
known in the Acropolis. This side of the temple, being so well
sheltered from the sea breeze, has preserved its sculptured
ornaments as fresh and sharp as if lately finished; and the columns
of this portico, being fluted with capitals elaborately worked and well
sheltered, have retained remains of colour. At the top of the flutings
especially, a thin coat of slate-coloured paint is visible, at other
points yellow and red colour may be traced; but the remaining
pieces are so small and the colours so much faded, as to leave the
subject in dispute; this being alone certain that there was once
colour carefully applied (at all events, to the entaglio parts of the
relief or concave parts of the capitals, &c.), and that this colour was
of various shades; the protuberant part of the work retains no
colour. The probability that blue, red, and yellow were used is very
strong.”
Mr. Bracebridge further states, that “in the winter of 1835–6, an
excavation was made to the depth of twenty-five feet, at the south-
east angle of the Parthenon; here remains were found of huge
blocks of marble fresh from the quarries, chippings, &c. &c.; and
below these, fragments of vessels, pottery, and burnt wood. No one
who saw these could doubt that a level was dug down to below that
where the workmen of the Parthenon had thrown their refuse
marble, in fact the level of the old Hecatompedon, of which possibly
the burnt wood may have been the remains.
“Here were found many pieces of marble, and among these
fragments parts of triglyphs, of fluted columns, and of statues,
particularly a female head (the hair is nearly the costume of the
present day).
“These three last-mentioned fragments were painted with the
brightest red, blue, and yellow, or rather vermilion, ultramarine, and
straw colour, which last may have faded in the earth.
“These curious specimens are carefully preserved in the Acropolis,
but much fear is entertained of their retaining the brightness of their
highly contrasted colours for any length of time. The colours are laid
on in thick coats. The female face had the eyes and eyebrows
painted. When we consider the brilliancy of Pentelic marble when
fresh worked, there appears a reason for using colours beyond that
of imitating the usages of Attica, in more ancient temples, namely,
that the minutiæ of the work in many parts would have been lost to
the eye amidst the general brilliancy.”
The committee finally concluded that “Upon a consideration of all
the facts in the preceding minutes, it appears to the committee, that
there remain no indications of colour artificially applied upon the
surface of the statues and bas-reliefs, that is upon the historical
sculpture. That, according to Dr. Faraday’s opinion, those portions of
the marbles, which, from the tone and surface might be supposed to
be the result of colour applied thereon, are the original surface of
the marble, stained by the atmosphere, the presence of iron in the
marble, or by some such natural cause. That some of the
architectural fragments present indisputable traces of tone,
indicative of regular architectural ornaments, and the outlines of
such ornaments are distinctly traceable, being marked with a sharp
instrument on the surface of the marble.
“The committee cannot positively state, from the appearance of
the marble, that such tones have been produced by colour, as they
think that none of the colour itself remains, but that the indication of
tone results from the mere variation of surface. Judging, however,
from the information contained in Mr. Bracebridge’s communication,
there appears no reason to doubt that colour has been applied. This
is confirmed by the portions of coatings brought from Athens by Mr.
Donaldson, and analysed by Dr. Faraday, who has detected frit, or
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