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at some distance or elevation. The real projection which 

 works thus strictly belonging to the class of bassi-rilievi 

 may sometimes present, points out the essential difference 

 between basso and mezzo rilievo : a work, even if in very 

 slight general relief, which has the parts that are nearest 

 the most relieved, belongs to mezzo- rilievo; while a work 

 which has the nearest parts least relieved, constitutes basso- 

 rilievo, whatever its general projection may be. In the 

 former, the outline is thus less apparent than tho forms 

 within it; in the latter, the outline is more apparent than 

 the forms within it. The early Greek and Etruscan rilievi, 

 which, however (lat, have the nearest parts the fullest, while 

 the outline is scarcely, if at all, rectangular in its section, 

 have thus the principle of mezzo-rilievo. They are even 

 fitted for near inspection, and cannot be said to present any 

 unsatisfactory convention : for the hulk, however really thin, 

 is proportionate in its relief, and is so far directly imitative; 

 inasmuch as the eye consents to a diminished scale of bulk 

 as easily as to a diminished scale of height, while the indis- 

 tinctness of the outline has the effect of rounding the form. 

 Such works are besides fitted for near examination, be- 

 cause they can scarcely command any shadow. Various 

 specimens may be seen in the British Museum. 



The antique vases of Arezzo were ornamented with 

 figures in this kind of relief. Certain silver vases mentioned 

 by Pliny were of the same description. The Egyptian in- 

 taglio, for so it may be called, rather than rilievo, belongs to 

 the same style. The Egyptian artists, instead of cutting away 

 the background from the figure, sunk the outline, and 

 slightly rounded the figure, on the principle of mezzo-rilievo, 

 within. Thus no part of tin work projected beyond the ge- 

 neral surface, and the architectural profile was preserved. 

 There arc, however, many very antient examples at Thebes 

 of Inures slightly relieved from the ground, somewhat on the 

 principle uf MMO-rilievo as practised by the Greeks, that 

 in, with the nearest parts least relieved, and with outlines 

 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 in- 

 oir.rtive in the open light without such an addition. 



The distinctions of the three styles of relief, according to 

 the Greek examples, may now ba thus recapitulated. In the 

 relief, however decided tho 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 atti- 

 tudes ; that is, such an arrangement of the limbs as shall 

 not cast shadows on the figure itself. In basso-rilievo tho 

 same general effect of the figure is given, but by very dif- 

 ferent 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. Mezzo- 

 rilievo differs from both : it has neither the hmited 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 re- 

 quires, 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 prin- 

 ciple of raezzo-rilievo ; and though often far bolder in this 

 relief than modem 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 antient 

 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 protected. This plan was soon aban- 

 doned, 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 cele- 

 brated 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, 



