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Architectural Sculpture: These significant pti poses have generally been served by sculpture ( considerable size, and there is no doubt that largi ness promotes an effect of impressiveness i sculpture as it does in architecture. This i borne out by the observation that most sculptur which has been made merely to embellish or t delight is definitely under life-size or even of th statuette category. A notable exception to thi rule is found in fountain sculpture from the 16t! century on, where the architectural or arborea setting often requires commensurate scale in tb sculpture.
This sculpture, while bold in its outlines and undercuttings, was generally coarse in execution (because it was not to be seen close by), and of little merit when taken from its original setting.
Sculptors of today can learn something from the great architectural sculpture of the past, but they must remember that a new style of architecture requires a new relationship of sculpture to architecture. From the past both sculptor architect can learn effects of placement and lig ing. They can learn the value of contrasts color and material, and the telling power of li and shade and silhouette. Also they should able to discern in what ways sculpture will hance and give aesthetic accent to architectun.
The Gothic period of the 13th and 14th centuries witnessed a gradual and partial emancipation of sculpture from architecture. Then, as seen on the great cathedrals of Amiens, Reims, and Bourges, sculpture in low relief and sculpture that was placed high remained, as in the Romanesque period, a part of the architecture giving textural richness and added emphasis to architectural form. But statues in niches or scenes in high relief which were near eye level began to be more independent of their architectural setting, though still heeding its demands. |
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