The Egyptians also employed basso-relievo without any surruanding border, all the figures being raised from the same naked, such as in the palace of Karnac, and thus© described in the Bird's \Veil, of which there is a specimen in the hall of the British Museum. The material is soft cal careous stone, in very low relief. The outlines of Egyptian sculpture are ungraceful, and the execution shows a want of the knowledge of anatomy: it may be remarked as somewhat singular. that quadrupeds are more accurately represented in their sculpture than human figures.
The basso-relievos found in the excavations of the Indian temples bear a strong resemblance to those of the Egyptians, but are inferior in point of proportion; the heads are too large. Whether the Indian or Egyptian sculpture is the most ancient is not known; but if simplicity is to lie our criterion, we would say the latter. See Du/tie/CS JO.
The Persians employed basso-relievos in their architec tural decorations, as may be seen in the palace of Persepolis, and in the royal tombs. The figures are arranged in hori zontal and vertical lines, and resemble the later hieroglyphics of Egypt, though the dress is very diarent : those ofrthe Egyptians being particularly distinguished by the hair arti ficially curled, the hood, the mitre, the close tunic, and apron of papyrus; the Ilindoos, by the necklaces, bracelets, and anklets; the Persians, by long beards, and hair ending in small eurls, caps, and full tunics, with regular fidils and large sleeves; the Mcdes, by close tunics. The drapery of the Persian figures is more natural than that of the Egyptians; but it cannot he inferred from this, that the figures themselves are of better sculpture, as instances may he shown to the contrary, in the obelisk of Sesostris, in the palace of Ka•nac, and in the Theban tombs, where the execution is not only more perfect, but the positions of the human figures more varied. See Devon's Egypt, and be Bruqn's Travels.
The Grecians excelled all contemporary nations in the art of sculpture, as well as in architecture and geometry ; the numerous remains of their edifices show the perfection which they had attained in exquisite workmanship, beautiful pro portion, and easy and graceful attitudes. They profess to have had their first rudiments from Egypt, and this is com pletely verified in their first productions, which were similar to those of the Egyptians; however, the art did not long remain stationary; from daily observation, and a strict adhe rence to nature, they advanced rapidly in the science, and at last, by a knowledge of anatomy, it was brought to such a degree of perfection, that their remaining sculptures have become the very standard of excellence, a criterion which the moderns have never surpassed, and but seldom equalled.
Who can behold the sculpture in the pediments and friezes of the Parthenon, and other remains of Athenian grandeur, without astonishment ? The pediments of this temple were adorned with entire and separate statues, although from their situation, and the deep shadows east by them on the tympanum, they must have had the appearance of figures in high relief. The figures in the metopes were in alto, whilst those in the cella were ill basso-miler°. This arrangement leads us to notice the great judgment which the Greeks exercised in the selec tion of the different kinds of sculpture, according to the nature of the situation they were intended to oceupy. We find that they almost invariably placed separate statues, and sculptures in high relief, on the exterior of their buildings, or in such places as had the advantage of the open light ; while, on the contrary, they reserved those in basso-relievo for interiors, where the light was not freely admitted ; and this they did evidently for this reason, viz. that in all situations, and under all circumstances, their sculptures might be distinct and intelligible. It needs no argument to prove that figures in high relict' are more readily discernible, when the light is permitted to play equally on all sides of them. Were such •- figures placed in an imperfectly lighted situation, they would be almost unintelligible, from the shadows which they would throw upon each other. On the other hand, the flatness of basso-relicyo, while it obviated the projection of shadows beyond its own surfilec, ensured the distinctness of the out linos, and gave to the figures an appearance of rotundity. • Nezzo-relievo is only adapted for near inspection. The temples of Theseus and Phigalcia, as well as that of Minerva, were remarkable for the beauty of their sculptures.
The basso.relievos of the lionians were, perhaps, at first, confined to their tombs. They never attained a just knowledge, or taste, of the art of sculpture. Their best works were executed by Grecian artists, and are chiefly to be found in the triumphal arches, which are richly charged with basso-relievos. The art attained its greatest perfection in the reign of Augustus, and was greatly on the decline in the time of Constantine. In more uuddern times, the Italians and Florentines are the only people who arrived at any degree of excellence in sculptures of this kind ; and even they departed from the original purity of the Greeks, by attempting to express in their works the effect of perspective. We are indebted to Flaxman for the introduction of a purer taste into this country ; his style may be considered as a nearer approach to the simplieity of the ancients, than that of either the Italians or the Florentines.