Ancient temples tricked out in full living color as they were when people worshiped in them. Chromolithographic plates from Jakob Ignaz Hittorff’s “Restitution du temple d’Empédocle à Sélinonte,” which was published in Paris in 1851. A Prussian architect, he cut his artistic teeth drafting for Charles Percier.

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Temple of Empedocles at Selinunte. 1851.
Temple of Empedocles at Selinunte. 1851. Plate from “Restitution du temple d’Empédocle à Sélinonte”. Image © Sotheby’s. Fair use license. via http://www.sothebys.com/en/auctions/ecatalogue/lot.165.html/2011/the-library-of-jacques-levy-n08852
Principal elevation of the temple. 1846.
Principal elevation of the temple. 1846. Plate from “Restitution du temple d’Empédocle à Sélinonte,” published in 1851. Image © Royal Academy, London. Fair use license. via https://www.royalacademy.org.uk/art-artists/work-of-art/monuments-divers-de-la-cyrenaique-de-larabie-petree-de-la-palestine-de-la
L'Architecture Polychrome chez les Grecs. 1846.
L’Architecture Polychrome chez les Grecs. 1846. Frontispiece from “Restitution du temple d’Empédocle à Sélinonte, Paris,” published in 1851. Image © Royal Academy, London. Fair use license. via https://www.royalacademy.org.uk/art-artists/work-of-art/monuments-divers-de-la-cyrenaique-de-larabie-petree-de-la-palestine-de-la

Published by sarahbguestperry

On a voyage to see how much mileage I can get from the creative ability and eye for images that my family thought was useless. On line art curator, fiction writer and now blogger. Historian's daughter. Follow me . . .even I have no idea where I'm going next.

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