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attachment, through " under-cutting," remaining only here and there; in the latter it is wholly attached and may scarcely rise above the surface (as in the See also:

MODERN

modern See also:

MEDAL (Fr. medaille, from Lat. metallum)

medal), or it may exceed in See also:

PROJECTION

projection to about a See also:

HALF

half the proportionate See also:

DEPTH

depth (or thickness) of the figure or See also:

OBJECT

object represented. Formerly three terms were commonly employed to See also:

EXPRESS (through the French from the past participle of the Lat. exprimere, to press out, by transference used of representing objects in painting or sculpture, or of thoughts, &c. in words)

express the degree of relief — altorelievo, basso-relievo and mezzo-relievo (or half-relief) ; but thetwo last-named have been merged by modern See also:

CUSTOM (from O. Fr. costume, costume or coustume; Low Lat. costuma, a shortened form of consuetudo)

custom into " low-relief," to the disadvantage of accurate description. The term relief belongs tc modern sculpi use. I o low relief .13 under-stood by us See also:

Pliny applied the word anatlypta, but it is to be observed that See also:

EMBOSSING

embossing and See also:

CHASING, or ENCHASING

chasing came within the same See also:

CATEGORY (Gr. Karrlyopia, " accusation ")

category. It may be considered that less sculptural skill (independently of manipulative skill) is needed in high relief than in low relief, because in the former the true relative See also:

pro-portions in the See also:

LIFE

life (whether figure or other object) have to be rendered, while in the latter, although the true height and, in a measure, breadth can be given, the thickness of the object is reduced by at least one-half, sometimes to almost nothing; and yet in spite of this departure from actuality, this See also:

ABANDONMENT (Fr. abandonnement, from abandonner, to abandon, relinquish; abandonner was originally equivalent to mettred banddn, to leave to the jurisdiction, i.e. of another, bandon being from Low Latin bandum, bannum, order, decree, " ban ")

abandonment of fact for a pure See also:

convention, a true effect must still he produced, not only in respect to See also:

PERSPECTIVE (Lat. peespicere, to see through)

perspective, but also of the actual shadows See also:

CAST (from the verb meaning " to throw "; the word is Scand. in origin, cf. Dan. kaste, and Swed. kasta; " cast " in Middle Eng. took the place of the A.S. weor pan, cf. Ger. werf en)

cast. And insomuch as the compositions are often extremely complicated and have sometimes to suggest retreating planes, the true See also:

PLANE

plane of the material affords little See also:

SCOPE (through Ital. scopo, aim, purpose, intent, from Gr. o'KOaos, mark to shoot at, aim, o ic07reiv, to see, whence the termination in telescope, microscope, &c.)

scope for reproducing the required effect. In the beginning the essential See also:

IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea of the relief was always maintained: that is to say, the sense of the flatness of the slab from which it was cut was impressed throughout the design on the mind of the spectator. Thus the Egyptians merely sunk the outlines and scarcely more than suggested the modelling of the figures, which never projected beyond the See also:

FACE (from Lat. fades, derived either from facere, to make, or from a root fa-, meaning " appear "; cf. Gr. cbatvstv)

face of the surrounding ground. The Persians, the Etruscans and the Greeks carried on the See also:

art to the highest perfection, alike in sculpture and architectural ornament, and they applied it to See also:

gem sculpture, as in the case of " See also:

CAMEO

cameo." Similarly, the inverse treatment of relief—that is, sunk below the surface, in See also:

order that when .tsed for See also:

SEALS

seals a true relief is obtained—was See also:

early brought to See also:

GREAT

great completeness; this See also:

FORM (Lat. forma)

form of See also:

ENGRAVING

engraving is called " See also:

INTAGLIO (an Ital. word, from intagliare, to incise, cut into)

intaglio." The degree of projection in relief, broadly speaking, has varied greatly with the periods of art. Thus, in See also:

BYZANTINE

Byzantine and Romanesque art the relief was low. In See also:

GOTHIC

Gothic it increased with the increased See also:

DESIRE

desire to render several planes one behind the other.

With the See also:

ADVENT (Lat. Adventus, sc. Redemptoris, " the coming of the Saviour ")

advent of the See also:

RENAISSANCE, THE

Renaissance it became still more accentuated, the heads and figures projecting greatly; but such high relief is sometimes found in early See also:

WORK

work, especially in See also:

metal-work. Although we see a return to See also:

LOWER

lower relief in the See also:

HENRI

Henri II. See also:

period, it becomes stronger in the See also:

Louis XIII. See also:

style, very full in Louis XIV. and Louis XV., but in Louis XVI. is considerably reduced. (M. H.

End of Article: RELIEF

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