432. The fact of colouring hieroglyphics being once admitted, the colouring of the other figured objects which accompany them appears to have been a necessary consequence, either to bring out certain symbols, or allegories more distinctly and more agreeably, by the effect of their various colours, or because, if the hieroglyphics only were differently coloured, there would be no harmony between them and the other figured objects. No one can mistake the harmony between the hieroglyphics and other painted objects, and we therefore should not see any impropriety in them if we mistook them for figures traced by the capricious imagination of the artist. This harmony clearly justifies Lancret and Champollion the Younger, in the passages quoted above. II. ON THE EMPLOYMENT OF COLOURS IN GREEK ARCHITECTURE. 433. The discovery of Greek temples coloured on the exterior is doubtless a very remarkable fact in archæology; for if any monuments seemed to reject the application of colours to their external decoration, it was assuredly those of the Greeks. At this day, it is impossible not to admit that it was among these people that the alliance of colours with architecture was made, not in the declining epoch but at a period when monuments were erected in the best style; in fact, the ruins of coloured temples discovered by the excavations made in Greece, Italy, and Sicily, in places where many Greek colonies prospered, have this characteristic in a remarkable degree. 434. If we seek the cause which determined the Greek architect to seize upon one of the most powerful means that the painter has of addressing the eye, we shall find it especially, I think, in a taste for colours, rather than in the intention of rendering the various parts of an edifice more distinct from each other; and of substituting painted ornaments for ornaments in relief, whether sculptured or moulded, or of augmenting the relief these ornaments already possessed; indeed, the communication of the Greeks with the Egyptians, may have induced them to imitate the latter in this application of colours to ornaments. 435. In the coloured drawings of Greek monuments which I have been able to procure, I have remarked not only the number of colours employed in these monuments,—_white_, _black_, _red_, _yellow_, _green_, and _blue_,—but also the use which has been made of them under the relation of _variety_ and _purity of tint_, of _distinct view of the parts_, and of the _harmony of the whole_. For instance, the principal lines, as the fillets of the architrave and of the cornice, are _red_; the mutules _blue_, and their guttæ _white_; the triglyphs _blue_, their channels _black_, and their guttæ _white_; and the more extended parts of the frieze and the cornice, as well as the architrave, are of light _yellow_.