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recorded a careful description of these paintings, figure by figure. The foundations of the building have been recovered in the course of the French excavations at Delphi. From this evidence, some archaeologists have tried to reconstruct the paintings, other than their colours. The figures were
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detached and seldom overlapping, ranged in two or three rows one above another; and the farther were not smaller nor dimmer than the nearer. Therefore, it seems that the paintings of this time were executed on almost precisely the same plan as contemporary sculptural reliefs.
199:, Polygnotus had the same grand manner. Simplicity, which was almost childlike, sentiment at once noble and gentle, extreme grace and charm of execution, marked his works, in contrast to the more animated, complicated and technically superior paintings of later ages.
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Polygnotus employed only a few simple colours. Technically his art was primitive. His excellence lay in the beauty of his drawing of individual figures, especially in the "ethical" and ideal character of his art. A contemporary and perhaps teacher of
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Polygnotus did not paint for the money but rather out of a charitable feeling towards the Athenian people. In the hall at the entrance to the
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other works of his were preserved. The most important of his paintings were his frescoes in the
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This article incorporates text from a publication now in the
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230:. Vol. 19. Macmillan Educational Corporation. p. 222.
242:"Photo guide of Polygnotus street near Archea Agora in Athens"
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226:(1976). "Polygnotus". In William D. Halsey (ed.).
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175:. The subjects of these were the visit to
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277:. W. H. S. Jones (translator).
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183:and the taking of Troy.
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84:) was an
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