257 



ALTO-RILIEVO. 



ALTO-RILIEVO. 



258 



lines rectangular in the section. Many of them, probably, in their 

 original situations, and when the buildings were entire, ornamented 

 interiors. Some Persian rilievi, in the British Museum, approach the 

 same style. The Egyptian rilievi were painted in brilliant colours, 

 and would have been ineffective in the open light without such an 

 addition. 



The distinctions of the three styles of relief, according to the Greek 

 examples, may now be thus recapitulated. In the highest relief, how- 

 ever decided the shadows may and must of necessity be, on the plane 

 to which the figure is attached, the light on the figure itself is kept as 

 unbroken as possible, and this can only be effected by a selection of 

 open attitudes ; that is, such an arrangement of the limbs as shall not 

 cast shadows on the figure itself. In basso-rilievo, the same general 

 effect of the figure is given, but by very different means : the attitude 

 is not selected to avoid shadows on the figure, because, while the 

 extreme outline is strongly marked, the shadows within it may be in a 

 great measure suppressed, so that the choice of attitudes is greater, 

 rilievo differs from both : it has neither the limited attitudes of 

 the first, nor the distinct outline and suppressed internal markings of 

 the second : on the contrary, the outline is often less distinct than the 

 forms within it, and hence it requires, and is fitted for, near inspection. 



Its imitation may thus be more absolute, and its execution more 

 finished, than those of either of the other styles. 



Most of the coins of antiquity are executed on the principle of 

 mezzo-rih'evo ; and though often far bolder in this relief than modern 

 works of the kind, are treated in a mode corresponding with their 

 minute dimensions, which require close examination. The outline 

 thus gradually rounds into the ground, and is never abruptly sunk, 

 while the nearest parts are most relieved. Thus, conventional methods 

 are always wanting in works that admit of close inspection, where the 

 eye can be satisfied without such expedients. The comparatively 

 strong relief of the heads on the ancient medals is again a contrivance 

 for their preservation, and presents a new variety in the style of rilievo. 

 Coins are exposed to friction, and the forms they bear are thus liable 

 to be soon effaced. The earliest means adopted to prevent this was by 

 sinking the representation in a concavity, in which it was thus pro- 

 tected. This plan was soon abandoned, for obvious reasons ; and the 

 method ultimately adopted was that of raising the least important 

 parts most. Accordingly, the parts that are rubbed away in many fine 

 antique coins are precisely those which can best be spared ; the hair 

 has generally a considerable projection, so that the face and profile are 

 often perfectly preserved after 2000 years : a better specimen cannot 



be adduced than the celebrated Syracusan coin representing the head 

 of Arethusa or Proserpine. In addition to the propriety of its style, 

 this head is remarkable for its beauty, and is classed by Winkelmann 

 among the examples of the highest character of form. 



The ordinary style of mezzo-rilievo was also used for gems, and 

 indeed for all works in this branch of sculpture which required close 

 inspection, and needed no conventional contrivance. A flat style of 

 relief, which is sometimes observable in cameos, was adopted only for 

 the sake of displaying a subject on a different coloured ground ; the 

 layers of colour in the stone employed, generally the sardonyx, being 

 very thin. The difference of colour in the ground has, however, the 

 effect of giving roundness to the figures relieved on it, as if, their whole 

 effect becoming apparent, the internal markings disappeared. The 

 figures on the Portland Vase are treated on this principle ; and as it 

 was intended to imitate a precious stone (for which, indeed it was 

 at first taken), the thinness of the outer layer of colour is also 

 imitated. Such works, however, reduced to one colour in a east or 

 copy,.ore totally wanting in effect and style. The impressions from 

 intagli, or engraved gems, which were used for seals, are never in the 

 flat style of relief, but however slightly raised, are on the principle of 

 mezzo-rilievo as above defined. The gems of Dioscorides, the finest of 

 antiquity, are in mezzo-rilievo, and often of the fullest kind ; as for 

 instance, the heads of Demosthenes and lo, and the figures of Mercury 

 and Perseus. The same may be observed of other celebrated gems, 

 uch as the Medusa of Solon, the Hercules of Cneius, &c. It is sup- 

 posed that the same artists who engraved on gems, and who frequently 



ABTS AND SCI. DIV. VOL. I. 



inscribed their names, also executed the dies for coins. The latter are 

 among the finest antique works of art; but of the many thousand 

 existing specimens there is but one which bears the name of the artist, 

 namely, the coin of Cydonia in Crete, the inscription on which proves 

 it to be the work of Nevantus. It was observed, that in the antique 

 corns, the least important parts are the most raised, and the reasons 

 which dictated this practice limited the view of the head to the profile ; 

 but as the same reasons were no longer applicable in engraved gems, 

 the impressions from which could be renewed at pleasure, the front, or 

 nearly front view of the head was occasionally attempted, and seems to 

 have been preferred by Dioscorides and his school. The head of lo before 

 mentioned, considered with reference to this specific propriety of its 

 style, as well as with regard to its general merits, is placed by Visconti in 

 the first class of antique engraved gems. Thus the most skilful artists 

 of antiquity seemed to consider the style of any one of the arts to 

 consist chiefly in those points which were unattainable by its rivals. 

 It may be here observed too, that they generally limited their repre- 

 sentation to the most worthy object, namely, the human figure, when 

 the dimensions on which they were employed were necessarily con- 

 fined. Indeed, the principles of imitation itself were, as it were, 

 condensed, and true character often exaggerated ns the materials 

 appeared less promising ; so that the genius of ancient art is as con- 

 spicuous in minute engraved gems as in colossal sculpture. 



Mezzo-rUievo of the fullest kind was also fitly employed (as well as 

 alto-rilievo, when in situations not exposed to accidents) to ornament 

 tombs and sarcophagi. These works, placed in the open air, decorated 



