Architecture And Archæology.

hearsed , statues will probably harmonise better with drapery accompaniments than with more rigid and precise forms in relation to which they have not been originally composed , and in which congruity is difficult , if not impossible . This also is a semi-pictorial treatment of sculpture , inasmuch as thereby a varying artificial atmospheric background is formed and composed behind each statue as a simulation

of nature ' s sky and clouds behind a portrait or figure in a picture , whereby the principal object is enhanced . On several occasions I have suggested this mode of enhancing statues by ample drapery backgrounds , and on more than one , only considerations of expense have prevented its being done . It will be recognised that a mere flat tint , distempered or painted on the wall , is not calculated to give

much idea of the effect of the same tint presented with the variety and grace of drapery , and therefore it were prejudicial to judge of the ultimate effect of draper } 1- , except by drapery itself . In the Louvre , behind the famous fragment of the Venus of Mclos , drapery has been hnng with excellent effect , and seats are placed at tho best points to view it from , a mode which , jin a gallery of exhibition , has many advantages .

But the background is notthe sole consideration . Supposing in a statue gallery a warm gray has been adopted for the backround , and tho creamy white statue stands before it , we have then to complete , by the choice of tints for the other parts , the composition of colour . AVith this starting-point of warm gray for the background , I believe that this pedestal of the statue miht well be covered ivith cotton velvet of a

g deep bronze green . The floor on which it rests might then be stained deep red ancl black , of a mosaic character , as seen in encaustic tiles . The ceilings might then receive some light , delicate , retreating , atmospheric colour , with a little yellow introduced , ivhich were best done by light

gilding . This is ono key of tint for the arrangement ol light coloured statues , which will rarely , I believe , disappoint the eye . Perhaps it is sufficient as an illustration of the principle I advocate . _ In cases where statues are darkened and embrowned by time , a different key altogether may be required . This , however , is the reason which I have received for the intense

and almost furnace-like colour placed behind some of the darker works in the British Museum . The whole question , however , of the effects of statues with colour , presupposes a good light , namely , for most statues at an angle of 45 ° , or thereabouts , falling on them from above . Recumbent statues are moro favoured by a lower light , slanting down so as to show tho features .

Coloured lights , as in tho Napoleon tomb in the Hotel des Inyalides , in the Princess Charlotte ' s tomb in the Chapel at AVindsor , or in the Ariadne room at Frankfort , may not appear consistent with the dignity of art . In tho case , however , of their being admitted as an aid to effect , as probably was the case in tbe Greek temples , all the other adjustments of colour mi ght have to be reconsidered . In these remarks I only contemplate uncoloured light . As regards bronze statues , a positive key cannot so well

be given , as their tints are various , extending from dark Florentine bronze to theli ght golden browns of Paris . However , asageneral suggestion , it may bo remarked that a golden green is usually an harmonious background for a bronze statue . A polished black marble pedestal also is effective in taking the dark out of the bronze which stands on it , lighting up its shadows by contrast . In the absence of black arble

m , a covering of black velvet affords an agreeable substitute . In the immediate neighbourhood , vigorous warm colours may como in agreeably , as a Turkey carpet on the floor , and hanging round of rich velvet , looped up with gold cords . As a general rule , perhaps it may be said that tender colours in the back grounds harmonise best with marble statues

, and full colours with bronze , as we see tho dark races the most attached to brilliant and powerful tints . AVith marble statues , delicate greens , azures , and purple grays , citrons , lilacs and chocolates supply charming backgrounds , , ' the effect of tho composition of colour being , of course , supplied by tho other adjuncts . It may , however , bo held generally that there should always be some strong colour somewhere . Of course these modifications of mixed tints arc , in art , almost inexhaustible , as thoy are in nature . Yet , in connection with this subject of the due exhibition of

sculpture , they require special means and scope for their presentation . Therefore I have not attempted ocular illustration to-night . As I observed just now , I have on this occasion only had the opportunity of considering , at all closely , the subiect of colour and statues in exhibitions . The same general considerations , however , hold when they are associated more

intimately and substantially with architecture . Thus , I woulcl hope , that although restricted by my limits from going into the whole subject , yet the position taken to-nighb to some degree illustrates my whole view , namely , that while the harmony of colour of statues with their entourage is highly important , that this does not necessarily entail the desecration of the surface of the statue itselfbut thaton

, , the other hand , this is more justly to be done by so selecting and adjusting the surrounding colours that they may require the natural tint of the marble itself to complete the picture . I am now nearly at an end , and have but fow more words to add , which , however , ; will take us a little beyond the consideration of colour as merely subordinate and subsidiary to sculpture . I now allude to such cases wherein colour is

presented by the sister art of painting when exhibited , together with sculpture in one and the same gallery . First , however , we will give a preliminary thought to that mode of the presentation of painting which still may be considered subsidiary oifly , however , from the method and material in which it is worked—I mean tajiestry . AVe well know that Raffaelle did not consider his master-mind and

hand debased by designing for tapestry . The noble cartoons in Hampton Court are a sufficient evidence of this , having been executed by himself and his assistants expressly for this purpose ; Itis not , however , because the colours are produced in tapestry by the needle or loom , instead of the brush , that I speak of it as subordinate , but only in accordance with general custom . Pictures in fine needle-work as

hangings have usually been considered of the nature of furniture as well as art . The textile rich surface expressly fits them for their subsidiary purposes . AVe may well suppose , for instance , that a beautiful classic group in Parian marble of Cupid and Psyche , would appear admirably on a jiedestal of polished Sienna and other marbles standing in a room ivhich should be surrounded with rich

tapestries pourtraying their story , as told by Apuleius and other classic authors . Actually in practice , indeed , tapestry with its varied lines and texture and subjects of interest will often unite admirably with sculpture , as somo of those present may have had the opportunity of observing . AVo will now , however , pass on to the harmony of works of the two arts , painting and sculpture , when they meet on

a level of direct equality , as in galleries for their reception . This is a point not for the sculptor alone to consider , but also for the painter ; also for the general art-lover ; also for the public ; for opinions are various on this point . My own is that they may be made to harmonise perfectly in combined exhibitions , which thereby may be made the more attractive . Still , however , I conceive that this would require special

arrangements , so that on the one hand the white tint and brilliancy of tho marbles may not injure the effect of the pictures by too close a juxtaposition , and on the other that these may not injure the effect of the statues by the crosscutting lines of the gold frames which surround them - Therefore , as a general rule , this might point to the conclusion that in a picture gallery where sculptures are

introduced , the latter should be at intervals , where special arrangements should be made . In the centre of saloons also , such statues and groups as look well in a downright light might well have situations also at the meeting of crossways . Also busts , or even statues on each side of doorways , but in these cases it would appear that they should have suitable backgrounds afforded by draperies or other materials .

Of the direct association , however , on a dignified scale , of works of painting and sculp ture of a high class but few examples exist in galleries of exhibition . Those which most readily occur are afforded by the celebrated Uffizi Gallery in Florence . This was adapted by Yasari , in the early part of the 17 th century , to the reception of works of art . It consists of two long corridors and about thirty rooms , in which works of painting , sculpture , and decoration are variously arranged . The Niobe room contains that well-known series