DOI Page / Citation link:
https://doi.org/10.11588/diglit.5009#0221
BAS-RELIEFS. 201
BAS-RELIEFS.
Bas-reliefs are works of sculpture in 'which, the objects are not
isolated, but are attached to a background, or to a plane surface, on
which sometimes the sculptured figures were placed, or as is more
generally the case, the entire background and figures were formed
of the same material. The term alto-rilievo is used when the figures
seem almost entirely detached from the background: mezzo-rilievo
when the figure projects from the background by about a half.
Basso-rilievo, or bas-relief, when the figures project slightly from
the background, and seem, so to say, flattened on the background ;
but common use has given to all these works of sculpture the general
name of bas-reliefs, or basso-rilievo. By the Greeks the term ana-
glypta was applied to all works in relief in general. The " ectypa
sculptura " of Pliny also means works in relief.
The work of the sculptor in bas-reliefs presents greater difficulty
in proportion as the projection of the figure is less; for it requires
consummate art to give size and natural proportions to a figure
slightly relieved.
In bas-reliefs the composition, the picturesque arrangement, and
the grouping of the figures, are principally studied, and hero another
difficulty presents itself, as the sculptor has but one background,
and not several, each distant from the other, as is the case in paint-
ing. In bas-reliefs the study of the light it receives is of the greatest
importance, for the shadows are real shadows, not artificial or imi-
tated, and consequently the effect ought to be carefully calculated.
The alto-rilievo is calculated for a high light, and the basso-iilievo
for a subdued light.
Egyptian.—Bas-relief was in general use among the Egyptians.
It was employed to decorate the front of the propyla of their temples
and of their tombs. The style of relief peculiar to the Egyptians
was the intaglio rilievato, or koilanaglypha, as termed by the Greeks.
The flat surface of the stone was cut into, and thus formed the out-
line of the object to be represented. Within this sunk space the
Egyptian artist contrived to raise the figure by cutting it deepest all
round the edge, and allowing it to rise in a curved form towards the
central parts, so that there was no salient point beyond the Original
piano. The degree of elevation given to this sunk relief is very
different in various specimens: in some it is scarcely perceptible,
While in others the central parts of the relief are almost on a level
BAS-RELIEFS.
Bas-reliefs are works of sculpture in 'which, the objects are not
isolated, but are attached to a background, or to a plane surface, on
which sometimes the sculptured figures were placed, or as is more
generally the case, the entire background and figures were formed
of the same material. The term alto-rilievo is used when the figures
seem almost entirely detached from the background: mezzo-rilievo
when the figure projects from the background by about a half.
Basso-rilievo, or bas-relief, when the figures project slightly from
the background, and seem, so to say, flattened on the background ;
but common use has given to all these works of sculpture the general
name of bas-reliefs, or basso-rilievo. By the Greeks the term ana-
glypta was applied to all works in relief in general. The " ectypa
sculptura " of Pliny also means works in relief.
The work of the sculptor in bas-reliefs presents greater difficulty
in proportion as the projection of the figure is less; for it requires
consummate art to give size and natural proportions to a figure
slightly relieved.
In bas-reliefs the composition, the picturesque arrangement, and
the grouping of the figures, are principally studied, and hero another
difficulty presents itself, as the sculptor has but one background,
and not several, each distant from the other, as is the case in paint-
ing. In bas-reliefs the study of the light it receives is of the greatest
importance, for the shadows are real shadows, not artificial or imi-
tated, and consequently the effect ought to be carefully calculated.
The alto-rilievo is calculated for a high light, and the basso-iilievo
for a subdued light.
Egyptian.—Bas-relief was in general use among the Egyptians.
It was employed to decorate the front of the propyla of their temples
and of their tombs. The style of relief peculiar to the Egyptians
was the intaglio rilievato, or koilanaglypha, as termed by the Greeks.
The flat surface of the stone was cut into, and thus formed the out-
line of the object to be represented. Within this sunk space the
Egyptian artist contrived to raise the figure by cutting it deepest all
round the edge, and allowing it to rise in a curved form towards the
central parts, so that there was no salient point beyond the Original
piano. The degree of elevation given to this sunk relief is very
different in various specimens: in some it is scarcely perceptible,
While in others the central parts of the relief are almost on a level