§ 38 Works of Sculpture Should Be Treated With a View to Their Destined Position
Figures in relief as well as in painting ought to be produced with judgement rather than in a mechanical way,154 especially when they are to be placed on a height, at a great distance. In this position the finish of the last touches is lost, though the beautiful form of the arms and legs, and the good taste displayed in the cast of drapery, with folds not too numerous, may easily be recognized; in this simplicity and reserve is shown the refinement of the talent. Figures whether of marble or of bronze that stand somewhat high, must be boldly undercut in order that the marble which is white and the bronze which tends towards black may receive some shading from the atmosphere, and thus the work at a distance appear to be finished, though from near it is seen to be left only in the rough. This was a point to which the ancients paid great attention, as we see in their figures in the round and in half relief, in the arches and the columns in Rome, which still testify to the great judgement they possessed. Among the moderns, the same quality is notably exhibited in his works by Donatello. Again, it is to be remembered, that when statues are to be in a high position, and there is not much space below to enable one to go far enough off to view them at a distance, but one is forced to stand almost under them, they must be made one head or two taller. This is done because those figures which are placed high up lose in the foreshortening, when viewed by one standing beneath and looking upwards. Therefore that which is added in height comes to be consumed in the foreshortening, and they turn out when looked at to be really in proportion, correct and not dwarfed, nay rather full of grace. And if the artist should not desire to do this he can keep the members of the figure rather slender and refined, this gives almost the same effect.