A sculpture executed upon and attached to a flat
surface. The usual impression produced by an artistic relief is that
about one-half of the actual proportions of the object are being seen in
their third dimension of depth. Strictly speaking, however, relief
sculpture is subdivided into various kinds. In alto-rilievo
(Italian for "high relief")
the figures are sculptured partly or wholly
in the round, that is,they project entirely, or almost entirely, from
the surface of the block in which they are cut. The metopes from the
Parthenon (Elgin Marbles) now in the British Museum are among the best
examples of alto-rilievo. Mezzo-rilievo (Italian for semi-relief;
French, demi-relief) presents figures that are rounded to half
their natural proportions, but without detached parts. Basso-rilievo
(Italian for low-relief; French, bas-relief) is a form of
surface-ornamentation in which the projectionis very slight. The f
inest
known specimen of low relief is the frieze around the cella of
the Parthenon; large portions of it are to be seen in the British
Museum. The lowest kind of relief is that described by the Tuscan term
rilievo-stíacciato (depressed or flattened relief). This scarcely
rises from the surface upon which it is carved, and is mostly an art of
fine lines and delicate indications. Donatello's Florentine Madonnas and
saints are among the best examples. Finally cavo-rilievo (Italian for
hollow relief; French, relief-en-creux) is a method of concave
sculpture in which the highest part or outline is on a level with the
surface, while the roundness is considerably below it. Cavo-rilievo was
practiced chiefly by the Egyptians whose hollow reliefs are known by the
Greek term Koilanaglyphs.
A sculpture executed upon and attached to a flat
surface. The usual impression produced by an artistic relief is that
about one-half of the actual proportions of the object are being seen in
their third dimension of depth. Strictly speaking, however, relief
sculpture is subdivided into various kinds. In alto-rilievo
(Italian for "high relief")
the figures are sculptured partly or wholly
in the round, that is,they project entirely, or almost entirely, from
the surface of the block in which they are cut. The metopes from the
Parthenon (Elgin Marbles) now in the British Museum are among the best
examples of alto-rilievo. Mezzo-rilievo (Italian for semi-relief;
French, demi-relief) presents figures that are rounded to half
their natural proportions, but without detached parts. Basso-rilievo
(Italian for low-relief; French, bas-relief) is a form of
surface-ornamentation in which the projectionis very slight. The f
inest
known specimen of low relief is the frieze around the cella of
the Parthenon; large portions of it are to be seen in the British
Museum. The lowest kind of relief is that described by the Tuscan term
rilievo-stíacciato (depressed or flattened relief). This scarcely
rises from the surface upon which it is carved, and is mostly an art of
fine lines and delicate indications. Donatello's Florentine Madonnas and
saints are among the best examples. Finally cavo-rilievo (Italian for
hollow relief; French, relief-en-creux) is a method of concave
sculpture in which the highest part or outline is on a level with the
surface, while the roundness is considerably below it. Cavo-rilievo was
practiced chiefly by the Egyptians whose hollow reliefs are known by the
Greek term Koilanaglyphs.