8/8/2019 Red and Blue in Architecture and Artwork

http://slidepdf.com/reader/full/red-and-blue-in-architecture-and-artwork 1/34

Red and Blue in Architecture

and Artwork  – Joannes Richter -

We are admiring the bright and white marble sculptures,but we forget they merely represent the carriers

of the religious colours red & blue...

 Fig. 1: Treasury of the Athenians at 

 Delphi

 Fig. 2: Augustus of  Prima Porta

8/8/2019 Red and Blue in Architecture and Artwork

http://slidepdf.com/reader/full/red-and-blue-in-architecture-and-artwork 2/34

Red and Blue

There is a strange imbalance between red & blue-combinationsand other basic colours like green and yellow. The imbalance

has been identified from the earliest forms of Jewish, Greek 

and Roman cultures.

Greek temples were, as a rule, colourfully painted. Only three

 basic colours, with no shades, were used: white, blue and red ,

occasionally also black. Similar combinations  purple, blue and

red have been documented as (25 and 3) divine commands for garments and decorative elements in Exodus and Chronicles.

Roman masonic rules probably have been initiated by Numa

Pompilius as early as 700BC – probably as copies of the Greek 

traditions, which included an overwhelming number of red &

 blue combinations.

Especially alternating red & blue-decorations dominated,

which indicates a correlation to antipodes like the oppositegenders male & female – which may have been applied to

symbolize the religious fertility elements.

From a statistical standpoint the archaic temples should reveal

equal amounts of green and yellow. This however cannot be

observed in any sacred area. The only key in solving this

enigma is the idea that red & blue (including purple) must have

 been symbolizing the fundamentals for all mayor archaic formsof religion.

 page 2 from 34

8/8/2019 Red and Blue in Architecture and Artwork

http://slidepdf.com/reader/full/red-and-blue-in-architecture-and-artwork 3/34

The red & blue symbolism has not been terminated at the

introduction of Christianity. Instead the symbolism continued

and flowered at the Middle Age in illuminated Bibles, royal

garments and decorative elements up to the flags in moderneras. Red & blue are still being used as symbols, even if their 

keys have been lost for the majority of its' users...

The use of red & blue in special fields such as illuminated

Bibles, paintings, gender symbols or e.g. freemasonry has been

documented in the following Scribd-publications:

• Gender References for Purple, Red and Blue

• The Fundamental Color Symbols Blue and Red

• Paint It Purple - A short History of painting Red and

Blue

• Blue and Red in Notitia Dignitatum

• Red and Blue in the Middle Age

• Blue and Red Symbolism in Freemasonary

• Capita Selecta for the religious symbols Red and Blue

• Genesis - Weaving the Words in Red and in Blue

• Blue and Red in Medieval Garments , 

• Blue and Red in Roermond

• Red and Blue as Gender Symbols

• Red and Blue in British Royalty

• Coloured Idols

Overall chronological reviews have been composed in The 

Hermetic Codex, in The Fundamental Color Symbols Blue and 

Red. Other manuscripts are listed in the appendix of  The 

Hermetic Codex

 page 3 from 34

8/8/2019 Red and Blue in Architecture and Artwork

http://slidepdf.com/reader/full/red-and-blue-in-architecture-and-artwork 4/34

Colours for Greek Temples1

Greek temples were, as a rule, colourfully painted. Only three basic colours, with no shades, were used: white, blue and red ,

occasionally also black.

The crepidoma, columns and architrave were mostly

white. Only details, like the horizontally cut grooves at

the bottom of Doric capitals (anuli), or decorative

elements of Doric architraves (e.g. taenia and guttae)

might be painted in different colours.The frieze was clearly structured by use of colours. In a

Doric triglyph frieze, blue triglyphs alternated with red 

metopes, the latter often serving as a background for 

individually painted sculptures.

Reliefs, ornaments and pedimental sculptures were

executed with a wider variety of colours and nuances.

Recessed or otherwise shaded elements, like mutules or triglyph slits could be painted black . Paint was mostly

applied to parts that were not load-bearing, whereas

structural parts like columns or the horizontal elements

of architrave and geison were left unpainted (if made of 

high quality limestone or marble) or covered with a

white stucco.

Some of the examples may demonstrate the alternating use of red & blue in decorations, which also is to be found in the

illuminated medieval Bibles.

1Source Wikipedia: Greek Temples

 page 4 from 34

8/8/2019 Red and Blue in Architecture and Artwork

http://slidepdf.com/reader/full/red-and-blue-in-architecture-and-artwork 5/34

The intensive use of red & blue combinations cannot be

considered as pure decorative elements. Associated with

 biblical commands in colouring elements for the Covenant Tent

and Solomon's Temple we must consider similar prescriptionsand conventions for the masons, who were in charge for the

Greek and Roman temples and sculptures.

 Numa Pompilius, king of Rome, installed a religious cult for 

Janus, a bipolar deity – along with Jupiter one of the earliest

and most important of all Roman deities.

According to Macrobius  and Cicero,  Janus and  Jana (Diana)

are a pair of divinities, worshipped as the sun and  moon,

whence they were regarded as the highest of the gods, and

received their sacrifices before all the others.

Probably  Numa Pompilius initiated the symbolism for Roman

architecture by copying the colour symbols from the Greeks

and/or other archaic religions, which applied the sun and the

moon, symbolized by the colours red, respectively blue.

If Numa "forbade the Romans to represent the deity in the form

either of man or of beast2” he may have chosen to use colours

for symbolizing the bipolar divine concept.

Numa Pompilius

 Numa Pompilius ( 753-673 BC; king of Rome, 715-673 BC)

was the legendary second king of Rome, succeeding Romulus.

One of Numa's first acts was the construction of a temple of 

Janus as an indicator of peace and war. The temple was

constructed at the foot of the Argiletum, a road in the city.

2 Plutarch tells of the early religion of the Romans, that it was imageless and

spiritual.

 page 5 from 34

8/8/2019 Red and Blue in Architecture and Artwork

http://slidepdf.com/reader/full/red-and-blue-in-architecture-and-artwork 6/34

After securing peace with Rome's neighbours, the doors of the

temples were shut and remained so for all the duration of 

 Numa's reign, a unique case in Roman history.

Little is known about the temple of Janus, the two-faced god of 

 boundaries ( Aedes Janus) which no longer exists, but it appears

on Neronian coins. The temple stood along the Argileto, the

ancient road that separated the Basilica Aemilia and the Curia

Julia, where this road entered the Forum Romanum.

Plutarch tells of the early religion of the Romans, that it was

imageless and spiritual. He says Numa "forbade the Romans to

represent the deity in the form either of man or of beast. Nor 

was there among them formerly any image or statue of the

Divine Being; during the first one hundred and seventy years

they built temples, indeed, and other sacred domes, but placed

in them no figure of any kind; persuaded that it is impious to

represent things Divine by what is perishable, and that we can

have no conception of God but by the understanding".3 

 Numa in his regulation of the Roman calendar called the firstmonth Januarius after Janus, at the time the highest divinity.

 Numa also introduced the Ianus geminus (also Janus Bifrons,

Janus Quirinus or Portae Belli), a passage ritually opened at

times of war, and shut again when Roman arms rested.

It formed a walled enclosure with gates at each end, situated in

the Roman Forum which had been consecrated by  Numa

 Pompilius. In the course of wars, the gates of the Janus wereopened, and in its interior sacrifices and vaticinia were held to

forecast the outcome of military deeds. The doors were closed

only during peacetime, an extremely rare event.

3Source: Numa Pompilius and Plutarch, The Parallel Lives-The Life of 

 Numa chapter 8-7

 page 6 from 34

8/8/2019 Red and Blue in Architecture and Artwork

http://slidepdf.com/reader/full/red-and-blue-in-architecture-and-artwork 7/34

 Livy wrote in his Ab urbe condita that the doors of the temple

had only been closed twice since the reign of Numa: firstly in

235 BC after the first Punic war and secondly in after the battle

of Actium in 31 BC.

A temple of Janus is said to have been consecrated by the

consul Gaius Duilius in 260 BCE after the  Battle of Mylae in

the   Forum Holitorium. The four-side structure known as the

Arch of Janus in the  Forum Boarium dates to the 4th century

CE.

In the Middle Ages, Janus was also taken as the symbol of 

Genoa, whose Latin name was  Ianua, as well as of other 

European communes.

We will start an overview of some Greek-Roman temples at the

reconstruction of a temple in Agrigent, Sicily.

 page 7 from 34

8/8/2019 Red and Blue in Architecture and Artwork

http://slidepdf.com/reader/full/red-and-blue-in-architecture-and-artwork 8/34

Agrigent, Sicily

In Roman religion, Concordia, "harmony" was the goddess of agreement, understanding, and marital harmony. Marital

harmony must be considered as a religious concept. The

temple has been dated to 440-430 BC.

Reconstruction of original painted state on a scaffolding

covering the Temple of Concordia, Akragas approximately 440-430 BC

Agrigent, Valle dei Templi, Concordia-Temple

Photograph for Wikipedia by ClemensFranz

GNU-Lizenz für freie Dokumentation, Version 1.2

 page 8 from 34

 Fig. 3: Temple of Concordia, Akragas

8/8/2019 Red and Blue in Architecture and Artwork

http://slidepdf.com/reader/full/red-and-blue-in-architecture-and-artwork 9/34

Treasury of the Athenians at Delphi

The Treasury of the Athenians was erected in 490-489BCEusing 1/10th of the spoils from the Battle of Marathon.

The oracle told the Athenians to rely on "wooden walls," which

they took to mean the ships of their navy.

The Treasury of the Athenians at Delphi reveals several red &

  blue decorations, indicating a religious symbolism of the

androgynous category.

 page 9 from 34

 Fig. 4: Treasury of the Athenians at Delphi

8/8/2019 Red and Blue in Architecture and Artwork

http://slidepdf.com/reader/full/red-and-blue-in-architecture-and-artwork 10/34

 page 10 from 34

 Fig. 5: Treasury of the Athenians at Delphi

8/8/2019 Red and Blue in Architecture and Artwork

http://slidepdf.com/reader/full/red-and-blue-in-architecture-and-artwork 11/34

Sifnian treasury, Delphi

Most of the sculptures lost their colours. Some of these evenmay be overlooked at close-ups.

Ancient Greek Relief, Archaeological Museum of Delphi

- Sifnian treasury by Fingalo 

licence Creative Commons Paternité – Partage des conditions initiales à

l’identique 2.0 Allemagne 

 page 11 from 34

 Fig. 6: Sifnian treasury

8/8/2019 Red and Blue in Architecture and Artwork

http://slidepdf.com/reader/full/red-and-blue-in-architecture-and-artwork 12/34

Athena-Aphaia Temple at Aegina4

Restored fragments of the west-front of the  Athena-Aphaiatemple at Aegina (490 before Christ).

4 Coloured Idols

 page 12 from 34

 Fig. 7: Athena-Aphaia temple at Aegina

8/8/2019 Red and Blue in Architecture and Artwork

http://slidepdf.com/reader/full/red-and-blue-in-architecture-and-artwork 13/34

Although the decorative pattern is dominated by red & blue we

may also identify green and golden / yellow. These patterns

will also be found in Egyptian artwork.

And belong to the reconstruction of the temple's west-front

(exhibition « Bunte Götter », Munich, 2004)

Desing: Vinzenze Brinkmann et Hermann Pflug.Painting: Ulrike Koch-Brinkmann.

Original: Munich, Staatliche Antikensammlungen und Glyptothek.

All Aphaia-Photographs copied from Wikipedia have been created by

Marsyas - Creative Commons Attribution-Share Alike 2.5 Generic license.

 page 13 from 34

 Fig. 8: Greek warrior from the Temple of  Athena Aphaia at Aegina

8/8/2019 Red and Blue in Architecture and Artwork

http://slidepdf.com/reader/full/red-and-blue-in-architecture-and-artwork 14/34

The international exhibition  Bunte Götter (“Coloured Gods”),

organized by the Munich Glyptothek in 2004, and shown in

Istanbul in 2006 and in Athens in 2007 presented a great

number of reconstructed artworks. A number (26) of thesecoloured idols have been documented in the Wikimedia

Commons in the Category:Bunte Götter exhibition.

 page 14 from 34

 Fig. 9: Trojanic Archer ("Paris") -

Temple of Aphaia to Aegina

8/8/2019 Red and Blue in Architecture and Artwork

http://slidepdf.com/reader/full/red-and-blue-in-architecture-and-artwork 15/34

 page 15 from 34

 Fig. 10: Aphaia Greek Archer (detail)

 Fig. 11: warrior (an archer ?),

 from the Acropolis

8/8/2019 Red and Blue in Architecture and Artwork

http://slidepdf.com/reader/full/red-and-blue-in-architecture-and-artwork 16/34

Polychrome Art in ancient Greece5

There were several interconnected traditions of painting inancient Greece. Due to their technical differences, they

underwent somewhat differentiated developments. Not all

  painting techniques are equally well represented in the

archaeological record.

"Kunsthistorische Bilderbogen", Verlag E. A. Seemann, Leipzig

Wikimedia Commons. 1883

5See also: Art in ancient Greece#Polychromy: painting on statuary and

architecture 

 page 16 from 34

 Fig. 12: Polychrome classicGreek architecture

8/8/2019 Red and Blue in Architecture and Artwork

http://slidepdf.com/reader/full/red-and-blue-in-architecture-and-artwork 17/34

Detail from "Kunsthistorische Bilderbogen",

Verlag E. A. Seemann, Leipzig

Wikimedia Commons. 1883

 page 17 from 34

 Fig. 13: Polychrome classic Greek architecture

8/8/2019 Red and Blue in Architecture and Artwork

http://slidepdf.com/reader/full/red-and-blue-in-architecture-and-artwork 18/34

Acropolis Athens6

Apart from the idols, which often are multi-coloured, the moststriking coloration is the alternating colouring in red and blue

of the tympanum in the Temple of Aphaia.

A similar coloured tympanum has also been found at the

Acropolis temple as reconstructed in the fries at the British

Museum.

own photograph, British Museum, London

6 Coloured Idols 

 page 18 from 34

 Fig. 14: Red/blue-colours at the Acropolis temple

8/8/2019 Red and Blue in Architecture and Artwork

http://slidepdf.com/reader/full/red-and-blue-in-architecture-and-artwork 19/34

own photograph, British Museum, London7

Reconstruction of the Parthenon8 

The frieze was painted with bright colors over a blue

  background and contained some bronze accessories. Each

 pediment was 28.8 m wide and 3.4 m high (at its center) and

contained more than 25 colored and partly gilded statues on a

 blue background. These figures were sculptured by Pheidias,Agorakritos and Alkamenes among others. The skin of the

statues was painted dark ruddy brown for men and left white

for women.

7 This has been an extremely expensive photograph as British Airways got

stuck up in a Heathrow Hassle (see the report The Heathrow Hassle)8 Info from Parthenon

 page 19 from 34

 Fig. 15: Red/blue-colours at the Acropolis temple

8/8/2019 Red and Blue in Architecture and Artwork

http://slidepdf.com/reader/full/red-and-blue-in-architecture-and-artwork 20/34

Some authors suggest that the background of each pediment

was red or left natural marble. The pedimental walls were

strictly vertical without any inclination.

Reconstruction of the Parthenon by Kronoskaf - Snapshot of the real time

rendering of the prototype.Courtesy of Kronoskaf.com

Permission is granted to copy, distribute and/or modify this document under 

the terms of the GNU Free Documentation License, Version 1.2 

 page 20 from 34

 Fig. 16: Reconstruction of the Parthenon by Kronoskaf 

8/8/2019 Red and Blue in Architecture and Artwork

http://slidepdf.com/reader/full/red-and-blue-in-architecture-and-artwork 21/34

Red & Blue in Roman Temples

"De architectura libri decem" by Marcus Vitruvius Pollio9

 seems to be the only ancient source for Roman architecture.

The work has been devoted to his master emperor Augustus.

Ornamental Colours

Vitruvius describes the colour for the triglyphs in detail

(Chapter 2-2):

Following the arrangement of timber framing, workmenhave imitated, both in stone and marble, the disposition

of timbers in sacred edifices, thinking such a

distribution ought to be attended to; because some

antientº artificers, having laid the beams so that they ran

over from the inner face of the walls, and projected

 beyond their external face, filled up the spaces between

the beams, and ornamented the cornices and upper parts

with wood-work elegantly wrought. They then cut off 

the ends of the beams that projected over the external

face of the wall, flush with its face; the appearance

whereof being unpleasing, they fixed, on the end of 

each beam so cut, indented tablets, similar to the

triglyphs now in use, and painted them with a waxen

composition of a blue colour, so that the ends of the

 beams in question might not be unpleasant to the eye.Thus the ends of the timbers covered with tablets,

indented as just mentioned, gave rise to the triglyph and

metopa in the Doric order.

9Marcus Vitruvius Pollio: de Architectura, Book IV

 page 21 from 34

8/8/2019 Red and Blue in Architecture and Artwork

http://slidepdf.com/reader/full/red-and-blue-in-architecture-and-artwork 22/34

Blue triglyphs have also been found in the Greek temples and

we may assume the Romans copied these traditions from the

Greeks.

A note to the copyrighted  photograph of a reconstructed blue 

triglyph (designed by Gottfried von Semper) documents the

controversy of archaeologists in the past centuries. The only

element they agreed on was the triglyphs being blue.

 page 22 from 34

8/8/2019 Red and Blue in Architecture and Artwork

http://slidepdf.com/reader/full/red-and-blue-in-architecture-and-artwork 23/34

Augustus of Prima Porta

Augustus of Prima Porta (Italian: Augusto di Prima Porta) is a2.04m high marble statue of Augustus Caesar which was

discovered on April 20, 1863, in the Villa of Livia at Prima

Porta, near Rome. Augustus Caesar's wife, Livia Drusilla,

retired to the villa after his death. The sculpture is now

displayed in the Braccio Nuovo of the Vatican Museums.

It is almost certain that the Augustus was originally painted,

 but so few traces remain today (having been lost in the ground

and having faded since discovery) that historians have had to

fall back on old watercolours and new scientific investigations

for evidence.

 page 23 from 34

 Fig. 17: Augustus of Prima Porta

8/8/2019 Red and Blue in Architecture and Artwork

http://slidepdf.com/reader/full/red-and-blue-in-architecture-and-artwork 24/34

Vincenz Brinkmann of Munich researched the use of color on

ancient sculpture in the 1980s using ultraviolet rays to find

traces of color.

Today, the Vatican Museums have produced a copy of the

statue so as to paint it in the theorized original colours, as

confirmed when the statue was cleaned in 1999 : it can be

viewed here. However, an art historian of the University of St

Andrews in Scotland, Fabio Barry, has criticized this

reconstitution as unsubtle and exaggerated.

 page 24 from 34

8/8/2019 Red and Blue in Architecture and Artwork

http://slidepdf.com/reader/full/red-and-blue-in-architecture-and-artwork 25/34

Peplos Kore (with traces of colour)

The Peplos Kore (with traces of colour) at the AcropolisMuseum from ca. 510 BCE has also been identified as a

 polychrome sculpture.

510BC, in the Acropolis Museum, Athena

(computer-simulated) colours by Doug Stern

 page 25 from 34

 Fig. 18: Marble Kore Extended  Hand 

8/8/2019 Red and Blue in Architecture and Artwork

http://slidepdf.com/reader/full/red-and-blue-in-architecture-and-artwork 26/34

A painted reconstruction for a „Peploskore“ has been

reconstructed at Cambridge. The image may be viewed in the

website „Peploskore“ for the   Hall of Sculptures (Basel). In paintings and sculptures the artists preferred red and blue in the

decorations for garments10.

10Source: „Skulptur des Monats“ Februar 2004 - Die sogenannte

„Peploskore“

 page 26 from 34

8/8/2019 Red and Blue in Architecture and Artwork

http://slidepdf.com/reader/full/red-and-blue-in-architecture-and-artwork 27/34

8/8/2019 Red and Blue in Architecture and Artwork

http://slidepdf.com/reader/full/red-and-blue-in-architecture-and-artwork 28/34

Basilica of Saint Servatius, Maastricht

The portico is a fine example of the combination of red, blueand a minor amount of green, but has been reconstructed 1885

and may deviate from the original.

own work, July 2010

 page 28 from 34

 Fig. 20: Portico of the Basilica of Saint Servatius,

Maastricht 

8/8/2019 Red and Blue in Architecture and Artwork

http://slidepdf.com/reader/full/red-and-blue-in-architecture-and-artwork 29/34

Nefertiti bust 12

Compared to the Greek artwork we may consider the Picture of the   Nefertiti bust in  Neues Museum, Berlin, which applies a

combination of red, blue and green.

Zserghei

 public domain 

Wikimedia Commons.

12 Coloured Idols

 page 29 from 34

 Fig. 21: Nefertiti bust in Neues Museum, Berlin

8/8/2019 Red and Blue in Architecture and Artwork

http://slidepdf.com/reader/full/red-and-blue-in-architecture-and-artwork 30/34

The Antipodes Red & Blue

Most medieval churches reveal the same red & blue alternatingstructures that have been reconstructed at the Greek and

Roman sculptures and temples.

There has been a common idea shared by Egyptians, Romans,

Greeks and Jewish people – probably even at a global level for 

the “globe” of archaic eras.

Several concepts may have been used to develop the archaic

idea of these antipodes. I will try to explain some of thesesuggestions.

The sun and the moon

 Red  and blue may have been symbolized by various objects,

such as the sun and the moon, and their attributes male,

respectively female. A red, male sun and a blue, female moon

may have been considered as metaphysical, divine antipodes,

which would explain their inclusion in the weekdays Sunday

and Monday. The sun and the moon have been considered as

  partners, which is clearly demonstrated by their role in the

alchemical manuscripts such as    Atalanta fugiens (1618)13.

According to Gary Gilligan14 the Egyptians always have

 painted the sun as a red disk, except during the 17 years of the

strange Aten-religion in the Amarna era.

13 Die androgyne Symbolik der Atalanta Fugiens 

14  Why was Egypt's Re (Ra) RED and not yellow? By Gary Gilligan – 

contains numerous examples of red solar discs

 page 30 from 34

8/8/2019 Red and Blue in Architecture and Artwork

http://slidepdf.com/reader/full/red-and-blue-in-architecture-and-artwork 31/34

Sexual Organs

In natural biological environments red and blue are exceptional

colours, contrasting to the natural elements green and yellow.

Biologically plants will prefer green colour for metabolism and

additionally brown for their structural (wooden) support, or 

yellow for the ancient foliage.

Red and blue will be reserved for reproduction to attract the

various insects. This way the red and blue flowers may be

considered as the sexual organs for the plants.

The Rainbow 

Probably for biological reasons the red and blue colours are

located at the lower respectively upper border of the rainbow's

spectre, in which yellow and green as the most useful elements

in nature's metabolism are to be found in a central position.

Red and blue however are the religious symbols for reproduction, which has been identified as the only way

towards eternity.

 page 31 from 34

8/8/2019 Red and Blue in Architecture and Artwork

http://slidepdf.com/reader/full/red-and-blue-in-architecture-and-artwork 32/34

Conclusion

The marble statues and bright white architectures we areadmiring at our Mediterranean holidays are not the artworks

the Greeks and Romans ever intended to create. These pale

sparkling artworks are merely the skeletons for the religious

symbols they have been carrying. The majority of these ancient

sculptures and temples may have been illuminated by bright

colours red and blue.

The earliest archaic artists probably did not paint their marblesculptures for beauty, but to express the religious symbolism of 

the early religion, which had been founded on antipodes – 

 probably the genders in a fertility cult - symbolized in a male

sun and a female moon.

As a remarkable fact we may identify the same symbolic

illuminations in medieval churches, illuminated Bibles and

similar decorations.

Right now most of these symbols have disappeared, worn off 

 by centuries of smoke, dirt and polishing hands. Some of the

colours may even have been removed deliberately to eliminate

the ancient religious symbols.

At the moment the last of the bright Egyptian colours are being

removed right now by exposing the fragile artworks to tourists,

who are swaying their cameras in the tombs and temples. Theintense sunlight and the flash-lights are bleaching the pigments.

Within a few decades the temples and tombs will be deprived

of their last symbolic colours turning them into the same pale

sculptures we are visiting in Rome and Athens.

 page 32 from 34

8/8/2019 Red and Blue in Architecture and Artwork

http://slidepdf.com/reader/full/red-and-blue-in-architecture-and-artwork 33/34

And it's true - in Greece, Rome and Asia Minor we are already

admiring the bright and white marble sculptures, but we forget

they merely represent the carriers of the religious colours red &

 blue...

 page 33 from 34

8/8/2019 Red and Blue in Architecture and Artwork

http://slidepdf.com/reader/full/red-and-blue-in-architecture-and-artwork 34/34

Contents

Red and Blue .............................................................................2Colours for Greek Temples........................................................4

 Numa Pompilius ...................................................................5

Agrigent, Sicily..........................................................................8

Treasury of the Athenians at Delphi..........................................9

Sifnian treasury, Delphi............................................................11

Athena-Aphaia Temple at Aegina............................................12

Polychrome Art in ancient Greece...........................................16

Acropolis Athens......................................................................18Reconstruction of the Parthenon.........................................19

Red & Blue in Roman Temples...............................................21

Ornamental Colours............................................................21

Augustus of Prima Porta..........................................................23

Peplos Kore (with traces of colour).........................................25

The Nikolai-church at Stralsund..............................................27

Basilica of Saint Servatius, Maastricht....................................28  Nefertiti bust ...........................................................................29

The Antipodes Red & Blue......................................................30

The sun and the moon.........................................................30

Sexual Organs.....................................................................31

The Rainbow.......................................................................31

Conclusion...............................................................................32

page 34 from 34