The figures of ancient bas-reliefs shoot commonly so much forward as to become almost round. But bas-relief being founded on fiction, can only counterfeit reality; its perfection is well to imitate; and a natural mass is against its nature: if flat, it ought to appear projected, and vice versa. If this be true, it must of course be allowed that figures wholly round are inconsistent with it, and are to be considered as solid marble pillars built upon the theatre, whose aim is mere illusion; for art, as is said of tragedy, wins truth from fiction, and that by truth. To art we often owe charms superior to those of nature: a real garden and vegetating trees, on the stage, do not affect us so agreeably, as when well expressed by the imitating art. A rose of Van Huisum, mallows of Veerendal, bewitch us more than all the darlings of the most skilful gardener: the most enticing landscape, nay, even the charms of the Thessalian Tempe, would not, perhaps, affect us with that irresistible delight which, flowing from Dietrick’s pencil, enchants our senses and imagination.
By such instances we may safely form a judgment of the ancient bas-reliefs: the royal cabinet at Dresden is possessed of two eminent ones: a Bacchanal on a tomb, and a sacrifice to Priapus on a large marble vase.
The bas-relief claims a particular kind of sculpture; a method that few have succeeded in, of which Matielli may be an instance. The Emperor Charles VI. having ordered some models to be prepared by the most renowned artists, in bas-relief, intended for the spiral columns at the church of S. Charles Borromæo; Matielli, already famous, was principally thought of; but however refused the honour of so considerable a work, on account of the enormous bulk of his model, which requiring too great cavities, would have diminished the mass of the stone, and of course weakened the pillars. Mader was the artist, whose models were universally applauded, and who by his admirable execution proved that he deserved that preference. These bas-reliefs represent the story of the patron of this church.
It is in general to be observed, first, that this kind of sculpture admits not indifferently of every attitude and action; as for instance, of too strong projections of the legs. Secondly, That, besides disposing of the several modelled figures in well-ranged groupes, the diameter of every one ought to be applied to the bas-relief itself, by a lessened scale: as for instance, the diameter of a figure in the model being one foot, the profile of the same, according to its size, will be three inches, or less: the rounder a figure of that diameter, the greater the skill. Commonly the relief wants perspective, and thence arise most of its faults.
Though I proposed to make only a few remarks on the ancient bas-relief, I find myself, like a certain ancient Rhetor, almost under a necessity of being new-tuned. I have strayed beyond my limits; though at the same time I remembered that there is a law among commentators, to content themselves with bare remarks on the contents of a treatise: and also sensible that I am writing a letter, not a book, I consider that I may draw some instructions for my own use,
——ut vineta egomet cædam mea,
Hor.
from some peoples impetuosity against the author; who, because they are hired for it, seem to think that writing is confined to them alone.
The Romans, though they worshipped the deity Terminus (the guardian God of limits and borders in general; and, if it please these gentlemen, of the limits in arts and sciences too), allowed nevertheless an universal unrestrained criticism: and the decisions of some Greeks and Romans, in matters of an art, which they did not practise, seem nevertheless authentick to our artists.