A history of art in Chaldæa & Assyria, Vol. 2 (of 2)Perrot, Georges
History
A history of art in Chaldæa & Assyria, Vol. 2 (of 2)
Perrot, Georges
Art -- Assyria -- History; Art -- Iraq -- Babylonia; Assyria -- Antiquities; Babylonia -- Antiquities
In speaking of Egypt we have explained how a brilliant light destroys
the apparent modelling of objects, how, by the reflections it casts
into the shadows, it interferes with our power to distinguish one
distant plane from another.[273] In every country where a vertical sun
shines in an unclouded sky, the decorator has had to invoke the help
of colour against the violence of the light, has had to accept its aid
in strengthening his contours, and in making his figures and ornaments
stand out against their ground. In describing Egyptian polychromy
we said that we should find the same tendency among other nations,
different in character and origin, but subjected to the influence of
similar surroundings. We also allowed it to be seen that we should have
to notice many changes of fashion in this employment of colour. Colour
played a different and more important part in one place or period than
in another, and it is not always easy to specify the causes of the
difference. In the Egyptian monuments hardly a square inch of surface
can be found over which the painter has not drawn his brush; elsewhere,
in Greece for instance, we shall find him more discreet, and his
artificial tints restricted to certain well-defined parts of a figure
or building.
Did Assyria follow the teaching of Egypt, or did she strike out a line
of her own, and set an example of the reserve that was afterwards to
find favour in Greece? That is the question to be answered. Before we
can do so we must produce and compare the evidence brought forward
by Botta, Layard, Place and others, who saw the Assyrian sculptures
reappear in the light of day. Ever since those sculptures were
recovered they have been exposed to the air; they have undergone all
the handling and rubbing involved in a voyage to Europe; and for the
last twenty or thirty years they have been subjected to the dampness
of our climate. We need, then, feel no surprise that traces of colour
still visible when the pick-axe of the explorer freed the alabaster
slabs from their envelope of earth have now disappeared.
Public-domain text, read in full here on John Shaqi.
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