Fifteen Discourses

by Sir Joshua Reynolds

Perhaps the only circumstance in which the modern have excelled the ancient sculptors is the management of a single group in basso-relievo; the art of gradually raising the group from the flat surface, till it imperceptibly emerges into alto-relievo. Of this there is no ancient example remaining that discovers any approach to the skill which Le Gros has shown in an altar in the Jesuits’ Church at Rome. Different plans or degrees of relief in the same group have, as we see in this instance, a good effect, though the contrary happens when the groups are separated, and are at some distance behind each other.

This improvement in the art of composing a group in basso-relievo was probably first suggested by the practice of the modern painters, who relieve their figures, or groups of figures, from their ground, by the same gentle gradation; and it is accomplished in every respect by the same general principles; but as the marble has no colour, it is the composition itself that must give it its light and shadow. The ancient sculptors could not borrow this advantage from their painters, for this was an art with which they appear to have been entirely unacquainted; and in the basso-relievos of Lorenzo Ghiberti, the casts of which we have in the Academy, this art is no more attempted than it was by the painters of his age.

The next imaginary improvement of the moderns is the representing the effects of perspective in bas-relief. Of this little need be said; all must recollect how ineffectual has been the attempt of modern sculptors to turn the buildings which they have introduced as seen from their angle, with a view to make them appear to recede from the eye in perspective. This, though it may show indeed their eager desire to encounter difficulties, shows at the same time how inadequate their materials are even to this their humble ambition.

The ancients, with great judgment, represented only the elevation of whatever architecture they introduced into their bas-reliefs, which is composed of little more than horizontal or perpendicular lines; whereas the interruption of crossed lines, or whatever causes a multiplicity of subordinate parts, destroys that regularity and firmness of effect on which grandeur of style so much depends.

We come now to the last consideration; in what manner statues are to be dressed, which are made in honour of men, either now living, or lately departed.

This is a question which might employ a long discourse of itself: I shall at present only observe, that he who wishes not to obstruct the artist, and prevent his exhibiting his abilities to their greatest advantage, will certainly not desire a modern dress.

The desire of transmitting to posterity the shape of modern dress must be acknowledged to be purchased at a prodigious price, even the price of everything that is valuable in art.

Working in stone is a very serious business; and it seems to be scarce worth while to employ such durable materials in conveying to posterity a fashion of which the longest existence scarce exceeds a year.

However agreeable it may be to the antiquary’s principles of equity and gratitude, that as he has received great pleasure from the contemplation of the fashions of dress of former ages, he wishes to give the same satisfaction to future antiquaries: yet methinks pictures of an inferior style, or prints, may be considered as quite sufficient, without prostituting this great art to such mean purposes.

In this town may be seen an equestrian statue in a modern dress, which may be sufficient to deter future artists from any such attempt: even supposing no other objection, the familiarity of the modern dress by no means agrees with the dignity and gravity of sculpture.