DOI Page / Citation link:
https://doi.org/10.11588/diglit.68796#0303
chap, ii Greek and Italian Reliefs 283
doubt as a lesson to the Greek sculptors that such attempts
must end in failure.
Other points of treatment, having the same aim of
clearness, are so ably dealt with in Sir Charles Eastlake’s
Essay that a reference thereto will suffice here. He shows,
for example, how careful were the Greeks in alto-rilievo to
avoid crossing the limbs, or throwing an arm across the
body, so that an accidental and confusing shadow would be
cast. The effective shadow was that cast by the mass of
the composition on the ground, and nothing was suffered
to interfere with this, the mass being so treated as to tell
out in light. In the Parthenon frieze again the sharp
outlining of the composition was designed to give it clear-
ness of delineation upon the flat background.
The following principles or canons of sculpture in relief
seem accordingly to evolve themselves from Greek practice,
when viewed in the light of the necessary conditions of the
sculptor’s art. Choose, and if necessary secure by posing,
flatness of aspect in the model. Bring all parts more or
less up to the same level so that the design tells as a 'whole
against the background. Avoid foreshortening, accidental
shadows within the design, and everything which impairs the
clearness of effect.
§ 165. Relief Treatment as influenced by materials and
processes; Greek and Italian Technique.
The practice of the Greeks is sometimes explained by
saying that they had always in their mind two planes, one
the plane of the background, and another so many inches
in front of it, according to the height of relief desired; and
while the limit of this second imaginary plane was never
exceeded, as much of the subject as possible was brought
up to it. The remark is true, but in a sense not always
doubt as a lesson to the Greek sculptors that such attempts
must end in failure.
Other points of treatment, having the same aim of
clearness, are so ably dealt with in Sir Charles Eastlake’s
Essay that a reference thereto will suffice here. He shows,
for example, how careful were the Greeks in alto-rilievo to
avoid crossing the limbs, or throwing an arm across the
body, so that an accidental and confusing shadow would be
cast. The effective shadow was that cast by the mass of
the composition on the ground, and nothing was suffered
to interfere with this, the mass being so treated as to tell
out in light. In the Parthenon frieze again the sharp
outlining of the composition was designed to give it clear-
ness of delineation upon the flat background.
The following principles or canons of sculpture in relief
seem accordingly to evolve themselves from Greek practice,
when viewed in the light of the necessary conditions of the
sculptor’s art. Choose, and if necessary secure by posing,
flatness of aspect in the model. Bring all parts more or
less up to the same level so that the design tells as a 'whole
against the background. Avoid foreshortening, accidental
shadows within the design, and everything which impairs the
clearness of effect.
§ 165. Relief Treatment as influenced by materials and
processes; Greek and Italian Technique.
The practice of the Greeks is sometimes explained by
saying that they had always in their mind two planes, one
the plane of the background, and another so many inches
in front of it, according to the height of relief desired; and
while the limit of this second imaginary plane was never
exceeded, as much of the subject as possible was brought
up to it. The remark is true, but in a sense not always