tailieunhanh - POLYCHROMY IN GREEK SCULPTURE

Steel connections have always been designed as 2-dimensional elements despite the fact that their load bearing behavior is 3-dimensional. For students who are learning design for the first time and have no prior experience or knowledge of steel connection designs from summer internships, it would be difficult for them to visualize a three-dimensional connector. For example, when two beams (Girder B3 and Beam 3A) are oriented normal to each other as illustrated in Figure 1, we often use two angle sections to connect them. One of the angles will be in the front face of beam 3A. | POLYCHROMY IN GREEK SCULPTURE By GISELA M. A. RICHTER Curator of Greek and Roman Art WITH NOTES ON THE COLOR PLATES By LINDSLEY F. hall Senior Research Fellow Department of Egyptian Art There are few subjects in the field of ancient art that have aroused such heated and prolonged controversy as polychromy in Greek sculpture. In looking over the archaeological literature of the past century we find the theme taken up again and again from different points of view and we realize how long it was before the fact became established that the Greeks colored their sculptures. The idea of painted statues somehow filled people with horror and only after the evidence in its favor had become overwhelming did the supporters of white unpainted sculpture give up their case. This strong prejudice was of course natural. Ever since the Renaissance artists had produced white marble sculpture in imitation oddly enough of the Greek and Roman examples known to them which in the course of time had lost their coloring. It was not easy to give up a belief that had been held for generations and one that had moreover started a new practice for previous to the Renaissance colored sculpture had been the rule. However as soon as the problem was attacked in the modern scientific spirit the result was inevitable. The statements of ancient writers and the actual traces of color on extant Greek and Roman sculptures were too strong evidence to admit of further doubt that throughout antiquity marble as well as limestone statues and reliefs were painted divers shades. That the colors have so often disappeared is not surprising when we remember the vicissitudes the sculptures have undergone exposure to the elements burial for over two thousand years and often a thorough cleaning on rediscovery. In many cases moreover in which color was noted on the sculptures 233 when they came out of the ground it vanished soon afterwards on contact with light and air. The fact that any color at all now remains is .