The relief in the medals, as Father Jobert noted, is a beauty, but this beauty is not an unmistakable sign of antiquity. It is essential for the medals of the High Kingdom; but in the Lower Kingdom there are medals that have no more relief than our Monnoies. The need to engrave the corners deeper and beat each piece in those corners has caused us to neglect this beauty in our monnoies and in our Jettons; As a result, we lost the advantage of being able to keep them as long as the Roman monnoys. Their medals, which came out of the ground after 1800 years, are still as fresh and pronounced as if they came from the hands of the worker. Our Monnoies, on the other hand, are of course so exhausted after 40 or 50 years that we can neither recognize the figure nor the legend. Then the elders lead us through this place; but in our great medals we are not only equal to the Greeks and Romans, we often surpass them. Since we invented the way to swing under the pendulum, we have worn the relief as high as possible, in terms of medals. (D. J.) Relief-low, (sculpture.) is called bas-relief, a work of sculpture that has little protrusion and is fixed on a background. If there are protruding and detached parts in the bas-relief, it is called semi-inequality. It can therefore be said that the ancients generally did not see the art of bas-reliefs as perfectly as we have it today; However, there are old bas-reliefs that leave nothing to the desire for perfection. These are the dancers that so many experienced sculptors have taken as models; it is such a precious Greek work, preserved with so much care in the Borghese vineyard in Rome, that it never came out of it. We speak of this relief of the fief in Froissart and in the customs of Péronne, Auxerre, Cambrai, Lille, Hesdin, Liège style.
See Lauriere`s glossary with the word relief. That the figures of the second level, or any part thereof, be as prominent or as firm in touch as those of the first; as well as other plans, depending on their deletion. If there are examples of this equality of touch, even if they are found in ancient bas-reliefs, they must be considered as errors of intelligence that hinder the humiliation that distance, air and our eye are naturally placed between us and objects. In nature, when objects move away, their forms become more indecisive towards us: observation is all the more important because in a bas-relief the distances of the figures are nothing less than real. Those who are thought to be one or two farther away than others are sometimes not an inch. It is therefore only through the vague and indecisive touch, combined with the reduced ratio according to the rules of perspective, that the sculptor will get closer to the truth and the effect that nature presents. It is also the only way to create this correspondence, which sculpture cannot find and only has to look for in the unique color of its material. At present, it is no longer necessary to call illico, nor to receive letters of discharge from illico, but one receives letters of appeal or a judgment to raise the appeal, which always derives its origin from the use in which one should receive illico or a reparation of illico. See above Complaint, appeal, particularity of the complaint.
Sixteenth century. If the vassal must have relief or redemption, which are exactly the same thing, for said relief and redemption must offer the income of a year, Coust. Gene. T. I, p. 235. The vassal is obliged to inform his master, who selects the relief [one-year income], his recipe papers and caves, and to yawn a copy at the expense of M. Loysel, 566. The relief supplies are deceived when the Lord dies and his Hoir rises to the one from whom he holds his fief, Du Cange, auxilium. But since bas-relief is a very interesting part of sculpture, I think I must transcribe here the reflections of Mr.
Etienne Falconet on this kind of work; he himself intended it for the Encyclopedic Dictionary. In sculpture, relief including the main parts, glueno. © Because other men who came several centuries before us will have tried to take only four steps in this career, we would not dare to take ten! Ancient sculptors are undoubtedly our masters in the parts of their art in which they have achieved perfection; but it must be agreed that in the picturesque part of the bas-reliefs, the moderns do not take so much account of their authority. It would be wrong to defend the cause of the ancient bas-reliefs when it is said that this background, which stops the view so unpleasantly, the body is out of the calm air and is freed from everything that would embarrass the characters. Because when we paint or draw from a bas-relief, we take great care to draw the shadow that limits the figures and that indicates so well that they are glued to this panel, which is called background: we do not think that this background is the body of the air. It is true that this ridiculous imitation is observed to make it known that the drawing is made after the sculpture. The sculptor is therefore the only culprit for ridiculing his work, which must be represented in the copies or imitations that are made of it. The relief, (painted.) the relief of the figures is a prestige of art that the author of natural history can not let pass without accompanying it with someone of those beautiful characteristics that are familiar to him. Apelle had painted Alexander with a flash in his hand, and Pliny exclaimed at the sight of the hero: “His wall of hand protrudes, and lightning comes out of the image.” It is up to this writer to reproduce in this way the beauties that take hold of him. He borrows a simpler style elsewhere to say that Nicias observed the distribution of days and shadows and took great care to solve his figures well.
A reader who sees in this sentence only chiaroscuro and relief without their mutual relationship will see only the account of a historian; others will discover the attention of a connoisseur to mark cause and effect and, under the guise of a historical exhibition, will teach an important lesson in painting. (D. J.) Relief from the rounds of Tems, these are letters from the chancery with which the king frees someone from what he has failed to do, his diligences in the tems prescribed to him and allows him to use the ability he has seen, as if he were still in the tems. These letters are of different types, depending on the objects to which they apply. There are letters of relief to take possession of the profit; others mentioned the facilitation of tems in the event of remission when an impetrant of letters of remission did not appear in the tems to have his letters approved; and so on many others. It is called lease relief because the husband owes it as husband to his wife and lease; that is, as bailiff and administrator of his wife`s fiefdom, which he enjoys in this capacity. However, there should be no ambiguity about my judgment of the ancient bas-reliefs. I find, as in beautiful statues, the great way in each object and the noblest simplicity in the composition; but as noble as this composition may be, it does not tend in any way to the illusion of a painting, and the bas-relief must always claim it. Occasional rights, such as reliefs, fifths, cens, lods and sales, fines, seizures and others that fall during the Year of Relief, belong to the Lord; even the rights due for the rear fief that will be opened during this time. .