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Greek Sculpture Toward: Greek sculpture toward temples also used sculpture in the friezes (horizontal bands above the columns) which also were high above the ground on the larger temples. In the Doric order this sculpture was in square plaques (metopes) ; in the Ionic it was in a continuous band. Such work was executed in low or mezzo relief. In general one feels that Greek sculpture toward sculpture maintains its identity as sculpture though it blends harmoniously with the architecture and embellishes and adds to its meaning. Most free-standing Greek sculpture toward sculpture, on the other hand, seems to have a strong affinity for architecture. This is illustrated by the fact that when displayed in museums it is most effective when set against walls or even placed in niches.
Roman.—Roman sculpture evolved from Etruscan and continued, in many respects, the Hellenistic traditions. Indeed, it would seem that great numbers of the sculptors were of Greek sculpture toward origin. Also Rome imported works of sculpture from Athens and other centers of Greek sculpture toward art. The term, Roman, however, applies not only to the city of Rome, but also to the huge empire which that city built up, thus sculpture from Athens or Spain is called Roman if done during the period of Roman dominance.
Greek sculpture toward sculpture, properly speaking, began a few centuries later, after the Greek sculpture toward-speaking invaders of the Aegean area had settled down to create a culture of their own. Sculpture from the Geometric period (about 900-700 B.C.) consists mostly of bronze statuettes of warriors and horses. These figures are of elongated proportions with a tendency to emphasize triangular masses. Large cult statues were probably made of wood, as we are told they were in the succeeding period. |
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