Stray Thoughts About Books.

Tyro had arranged his books at Tasculum . A general practice was to adorn the shelves of the library with busts of learned men , contemporary authors , etc . When the Alexandrian library was destroyed ( in the 7 th century ) the whole civilized world may be said to have been at once plunged into chaotic darknesss , the confusion and ignorance which ensued justifying the appropriate name of " dark ages . "

Architecture And Archæology.

ARCHITECTURE AND ARCH ? OLOGY .

COLOUR ON STATUES . ( Continued from p . 366 . ) AVhile , however , for the above reasons , I am opposed to placing various colours on a statue , especially a marble one , I have no idea of underrating the value of colour in

connection with statues . On the contrary , I am sure that this subject of the association of various treatments of colour with statues has not received nearly the study and attention it deserves . My difference with the statue-jiolychromists is not that I do not desire colour and statues together . In that we hoth agree that it should be so . Our difference only exists in the mode in which this should ho done—they

desiring to place colour on the statue itself , so as to make it harmonise with the surrounding objects , while I submit that this harmony is to be effected far better by other means , namely , by arranging such colours around the statue , as require the natural , pure , creamy , semi-transparent , local tint of the marble to complete the composition of colour . And the samemutatis mutandis be said of statues in

, , may bronze , which is indeed a quality of colour frequent in the finest paintings , as in those of Titian and Giorgione , and in . the landscapes of Gaspar Poussin , and our own AVilson and Orome . It is thus I conceive that the picture should bo

made up , with the statue as the eye of the composition , and that the surface of the statue itself should not be deteriorated by any colour treatment , which , if once commenced , you know not where to stop , and which , if treated upon the full colour of flesh , only looks like a wax image . I do not attempt to enter now on the treatment of colour aud statues in edifices of which they form an illustrative and

integral part . That were a very wide field indeed , including the whole subject of architecture , painting , sculpture , and decoration , and their relation , enough , indeed , for several addresses . On tho present occasion I limit myself to that part of the subject alone which attaches to the treatment of colour with statues in art exhibitions , under such arrangements as are practicable on such occasions . A few weeks

ago ! touched briefly on this subject , in some notes I read at the Department of Art , Kensington , entitled the Four Sisters ; but , perhaps , you will permit me now , for a few minutes , to go into more detail—the more so , inasmuch as I submit that the inadequate treatment of colour , in connection with sculpure , has hitherto formed an important item in the shortcomings of our current exhibitions of this art .

In situations in which , round a statue , colour presents itself , are below it , behind it , and above it ; on tho floor , the background and tho ceiling . Of these , of course , tho background is the most important to the statue , as it is that against which it is seen , and which contrasts iminecliatcly wifch its outline . Now it has boon tho prevailing custom , at least till quite of lato years , to make this contrast a very

strong one , and for this purpose a very strong dark red has been the favourite colour , as at the Eoyal Academy . I conceive this to bo an error , and as far as I have been able to influence decisions on tho subject , I have done my best to introduce a change . On being called on , at the time of the Great' Exhibition of 1851 in Hyde Park , to arrange the British sculpture there , I made it a stipulation that I should be allowed to depart from the violent red used and proposed up to that time as a background for statues , and to select a

modified tint . Again , in 1855 , being employed with Mr . Redgrave , by the ' Board of Trade , to arrange the British , sculpture in the International Exhibition in Paris , I used tho same colour , which , however , on that occasion was seen under every disadvantage , from the darkness of the room allotted to that purpose . Since this a similar tint has been adopted in the Exhibition of British sculpture at South

Kensington . Also it has been partially used in the Crystal Palace at Sydenham , as a background for some of tho ancient statues , and I believe that portion is best liked . Thus it may be said , I think , that this treatment of tint has been to some degree endorsed by experience . This colour is not in a violent key , but a mild one , being a middle tint , warm gray , sufficient

not too dark or sombre . This , while it affords a relief for the outlines of the figures placed before it—more , however , from its atmospheric character and quality of retreating from the eye than from its direct contrastssoftens the outlines agreeably , and makes the forms before it look round and fleshy . If notice the effect of flesh in natureyou will find

you , the outlines never harshly projecting from the background , and in fine paintings , accordingly , you perceive this natural softness imitated . If we desire , therefore , by a background so to gain tho same agreeable appearance in statues , why should we not use similar means—viz ., by a softening of the outline ? If the background is such that tho edges of tho statue melt into itthen the statue looks round and like

, nature . But if , on the other hand , the background asserts itself too much , and tumbles forward , as a strong red is apt to do—instead of retreating , like gray—and is , _ moreover , harsh and violent in its contrasts , then the outlines of the statue all round are thrown out upon yon , and the figure looks fiat , harsh , aud unnatural . Yon know how inferior is

the appearance of a plaster statue to that of one in marble , greatly from the opacity and , therefore , harsh edges of the one , and tho semi-transparency and comparatively soft edges , like those of flesh , of the other . As a consequence , by a harsh treatment of background you may thus make a marble statue look like a plaster one ; while , on the other hand , by a suitable tender background of sufficient contrast , and las

of a retreating atmospheric character , you may make a pter statue look almost like a marble one . Eor this purpose delicate mixed tints are more appropriate than any more positive . However , pray do not conceive that I think this individual warm gray the only colour suitable for the background of statues . By no means is this the case , and I only put it forward as one example of the class of colours , and The material

not the solo colour suitable for this purpose . , however , in which these are presented is also important . Texture is important as well as tint . Iu these cases no material , perhaps , is more favourable for the background than drapery of somo unglazcd material , arranged , not rigidly , but in easy folds , whereby it affords a more natural adjunct to tho statue before it , its lines being adjusted so as to compose with the lines and masses of the statue , thereby advantaging its eifect .

Let us suppose the drapery woollen , of some simple , rich texture , and graceful fall , and of some tender aiinosi ^ hcric tint , and let it bo suspended along a wall-space to bo occupied in front , by a few statues . Let the drapery hang comparatively plain immediately behind each statue , but in the intervals between be gathered somewhat together , so as to form columnar perpendicular folds . Thus is a

semi-architectural effect attained without rigidity , in which plain panels are simulated behind the statues and columns between them . The result of this is pleasantly regular aud yet gracefully varied , and is capable of the most easy adaptation to the various breadths and scales of statues or groups placed boforo it , and also to any changes of their places which may occur in tho course of arrangement . le of

Taking this as an example of the princip arranging drapery as a background to statues , it may bo recognised as capable of practice in so many ways , in simulation of forms of architecture , as to suit it to tho exhibition of any kinds or classes of sculpture . No doubt , when a statue is composed " especially for somo express architectural space in a building , it ought to look best there , associated with the actual architecture for which it is designed , but in exhibitions where tho placing ) of statues is comparatively unrc-