The present study is focused on the investigation of the remaining ancient paint layers of the Parthenon's west cornice blocks. Most ornamental features that referred in the 19th century literature as the cornice blocks' decoration, still survive on the Parthenon. Τhe paint layers were studied by using imaging techniques (Visible induced luminescence and portable digital microscope) in situ along with various techniques in lab (Stereomicroscope, μ-Raman spectroscopy, ATR-FITR spectroscopy and SEM/EDX).

The obtained results revealed that the taenia, which is placed at the bottom of the cornices’ facade, was depicted with the mineral conichalcite, providing a vivid green color. Red ochre and egyptian blue were used for the viae and the mutules depiction. The bottom side of the guttae, was also painted with red ochre. Regarding the taenia, placed at the base of the cornice blocks, two blue pigments, azurite and Egyptian blue were used for the meander and chess pattern depiction, respectively. The pattern of meander/chess pattern was placed on a red background (red ochre). Red lead was used for the depiction of the brown-red line borders in the corner ceiling of the NW cornice block and most probably for the depiction of the corner ceiling's background. In microsamples deriving from well preserved areas, beeswax was identified mixed with pigments, serving as the binder of the paint layers (encaustic technique). It is the first time that the presence of beeswax is proven in paint layers of an ancient monument, exposed in an open-air environment. The presence of beeswax is in line with ancient inscriptions, which referred to the encaustic technique for the decoration of ancient monuments.

This is the first systematic investigation of the Parthenon’s ancient polychromy and the obtained data are compared with the 19th century sources’ information. The scientific investigation not only confirms or invalidates these data, but also presents new findings.

本研究的重点是对帕台农神庙西飞檐块剩余的古代油漆层的调查。大多数在 19 世纪文学中被称为檐口装饰的装饰物，在帕台农神庙上仍然存在。通过使用成像技术（可见诱导发光和便携式数字显微镜）原位以及实验室中的各种技术（立体显微镜、μ-拉曼光谱、ATR-FITR 光谱和 SEM/EDX）研究油漆层。

获得的结果表明，位于飞檐立面底部的绦虫是用矿物螺铜描绘的，提供了鲜艳的绿色。红色赭石和埃及蓝被用于viae 和mutules 的描绘。古塔的底部，也涂有赭红色。关于绦虫，放置在檐板底部的两种蓝色颜料，蓝铜矿和埃及蓝分别用于描绘曲折和棋盘图案。曲折/国际象棋图案的图案被放置在红色背景（红赭色）上。红铅被用于描绘西北檐口街区角落天花板的棕红色线边界，最有可能用于描绘角落天花板的背景。在来自保存完好的地区的微量样品中，蜂蜡与颜料混合，用作油漆层的粘合剂（蜡画技术）。这是第一次在露天环境中暴露的古代纪念碑的油漆层中证明存在蜂蜡。蜂蜡的存在与古代铭文一致，其中提到了用于装饰古代古迹的蜡染技术。

这是对帕台农神庙古代多色性的首次系统调查，并将获得的数据与 19 世纪的资料进行了比较。科学研究不仅证实或否定了这些数据，而且还提出了新的发现。