In the flutes of the Ionic columns of the Erectheum red has been distinctly seen. This can only have been the ground for gold; the fillets which separate the flutes of the Ionic column may then have been white, but the flutes of the Doric column presenting a sharp arris, which could not receive colour to separate the colours of the flutes, the columns must have had one uniform tint, whatever it might have been, and we can conceive no other worthy of such a building as the Parthenon, or able to support the decoration above, but gold. There is no authority for the gilding of the antefixæ, nor for the guttæ, but their form suggests the only mode of treatment they could receive with effect. CEILING UNDER THE GALLERY.—THE TWO END BAYS. [Illustration: Portion of the Ceiling, showing what is known of the Decoration.] [Illustration: Portion of the Ceiling as Painted.] The diagram at once explains what is known in this attempt of supplying the colours for a Greek ceiling; the colours however even of this are doubtful. Traces only of the stains are known, and some of the ornaments have been supposed to be coloured in such a way as to destroy the very effect, which a mere glance at the diagram will show was intended to be produced—viz., to imitate, or rather take the place of ornaments in relief. The star in the centre of the coffer has traces of red upon it, and has been published as a red star on a blue ground; but Mr. Penrose, in his work, makes it gold, which is a much more probable arrangement. [Illustration: Painted Ornaments in the Centres of the Coffers of the Ceiling of the Propylaea, Athens, as published by Mr. Penrose.] It will be seen that the parts I have supplied are frets on the plain soffits of the beams and the ornament on the side of the beams; the frets I have used in such a way as best to define the architectural lines of the ceiling. Those who are inclined to believe that _wherever_ the Greeks ornamented, _there_ traces of ornament are found, and that consequently where no ornament is found none existed, of course stop at the stage represented by the outline diagram, and believe that the general harmony which such partial ornamenting would disturb was restored by covering all the plain parts with stains or tints which may or may not have been varied. Till more is known all this must ever remain matter of opinion and subject to dispute. This opinion, however, is entirely based on the fact that the traces of ornament which do remain are all engraved in outline on the marble with a sharp instrument; and it is therefore concluded that this was the universal practice of the Greeks, and that, where no engraved line exists there was no ornament. I think this a very bold assumption.