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Original Papers: Polychromatic Decoration in Italy. 
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POLYCAROMATIC DECORATION IN ITALY. 
By M. DIGBY WYATT, Esq., at the Royal Institute of British Architects, December
2d. 
PLAN FOR DECORATING THE BUILDING FOR THE EXHIBITION OF 1851. 
By OWEN JONEs, Esq. Idem. December 16th. 
THE advantage of the use of polychromy in architecture and mural decora-
tion is now more generally appreciated amongst us, and in no country is this
genial art more required than in our own, in order to obtain that cheerfuless
in 
all interior decoration which we are for so long a period of the year denied
by our 
climate. We advocate the desirable practice of this art, and view it, abstrac-
edly considered from subjects with which it has no possible, necessary, con-
nexion, as one of proper introduction and as a means of conducing to the
taste, comfort, and advancement of the age. 
Mr. Wyatt has endeavoured to shew how far the painting of classical times
was perpetuated in the medinval polychromatic decorations of Italy, and to
what extent the Greek element was affected by Roman tradition. The earliest
paintings after the time of Constantine are to be found in the Catacombs
of 
Rome and Naples; these sacred depositories were the haunts of the friends
and relatives of those who had suffered in the days of persecution; and to
these are the works to be ascribed. The outlines in these are strongly defined
by a firm, broad, and dark-brown line; the figures are by no means well drawn;
the colours and shadows, although heavy, not very forcible. In works of a
little 
later date, we find the same traces of colouring, but the style is distinct
from 
that of Greek art of the period in which light and shade are indicated by
posi- 
tive lines, following the forms of the limbs. The whole character of Greek
art 
is marked by that peculiar convolution which was the consequence of the habit
revalent among them of decorating their vestments and draperies with ela-
orate needle-work, and filagree ornament. It pervades their drawing of the
figure, as it no doubt pervaded their embroidered work, an influence of which
may be traced in Saxon and northern manuscripts. 
"In the MS. published by Muratori, attributed to the middle of the eighth
century, which exhibits departures from the processes of manipulation de-
scribed by Pliny, we trace the germs of the prevalence of that green tint
which 
the Byzantines adopted for their demi-tints in flesh-colour, and which furnishes
a means of distinguishing the works produced in Italy, in the Greek, or green
school, from those executed in the Roman, or reddish-brown school 
"In the treatise of Heraclius, De Artibus Romanorum, ascribed by Mr.
Hendrie to the early half of the tenth century, many old Roman expressions
for 
colours and paintings are found, indicating among the Italians of that period
a 
lively feeling for the old style of Roman painting. 
"We find in the treatise of Theophilus, a manuscript of extensive circulation
in the middle ages, written at the commencement of the twelfth century, 
though sometimes assigned to an earlier date, that the old processes known
to the Romans, such as tempera, fresco, and fresco-secco painting, were per-,
fectly well known among the Greeks; and we find a complete description of
all the various modes which actually came into use in subsequent periods
in 
Italy; and on comparing this with the curious manuscript discovered by 
M. Didron in the convent at Mount Athos, we find that the Greek practice
was 
nearly coincident with that detailed by Theophilus, who also describes many
of the processes used in the north of Europe. 
"Among the first and greatest efforts in mosaic, we find those of the
church 
of Santa Sophia. Every one interested in the subject will rejoice to know,
we 
may expect a full account of these by M. Fossati. 
"The renewal of artistic vitality among the Greeks, after a period of
persecu- 
tion of painters of figures, was felt almost immediately in Italy. Early
in the 
cleventh century, Greek artists came to Italy, and again worked in mosaic.
The churh of San Clemente would alone suffice to attest the imagination and
vigour of the artists of the period. The great feature of all Byzantine mosaic
Journal of Design. No. 23, January, 1851.                        s