This frieze in the Parthenon is 40 feet from the ground to the centre of it, and in the position A on the section (p. 17), whilst our experiment is only 16 feet, to the centre of the bas-relief: to be seen at an angle of 45°, the eye of the spectator must have been at least 60 feet from it: now only let the visitor stand at this distance from the portion of our cast that remains in white, and he will see how little of the detail is visible to the eye. [Illustration: Section showing the position of the Panathenaic Frieze.] Let him place himself at the same distance from the portion of frieze which I have painted, and he will see how visibly colour develops form. How many thousands pass daily the Athenæum Club in Pall Mall and are not conscious that there is above their heads a copy of this divine work of Phidias; if this were coloured (as it ought to be) who could pass by and escape it. The frieze in the Parthenon could not have been seen without colour as distinctly as the copy on the Athenæum Club, as it was under a portico, and in shadow. People are apt to argue that Phidias never could have taken such pains to study the light and shade of this bas-relief if the fineness of his workmanship had had to be stopped up when bedaubed with paint. Now people who argue thus have never understood what colour does when applied to form. The very fact that colour has to be applied, demands the highest finish in the form beneath. By more visibly bringing out the form it makes all defects more prominent. Let any one compare the muscles of the figures in white, with the muscles of those coloured, and he will not hesitate an instant to admit this truth. The labours of Phidias, had they never received colour, would have been thrown away; it was because he designed them to receive colour that such an elaboration of the surface was required. My attempt is seen under every disadvantage; it is too near the eye and too near the light; and it is painted on a material which is most ungracious for the reception of colour. The minute undulations of marble always lose something in a plaster reproduction, but when the plaster has further to be painted with four coats of oil paint to stop the suction, it may readily be imagined how much the more delicate modulations of the surface will suffer. I have preferred, however, to put forth this experiment with all its disadvantages, than attempt to soften the asperities by any artificial arrangement, convinced that if it can find some favour in its present position, it would gain immeasurably by being seen in a position analogous to that occupied by the original. It will be seen further on that no traces of colour exist at the present time on these marbles. They were moulded in Athens prior to their removal to this country, and whatever colour they may have then retained disappeared during the cleansing of the marbles by soap-lees, after the process of moulding.