Relationship Sculpture Architecture at www.japanese-home-gardens.com

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 sculpture architecture 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.

During the High Renaissance of the early 16th century the relationship sculpture architecture of sculpture to architecture was similar to that of Greek classical times : the two arts were working together in a fine balance, neither striving to dominate the other. The best illustrations of this, though a bit late for the period, would be the Loggetta and the library of St. Mark's Church in Venice by Jacopo San-sovino and assistants. In the continuance of Renaissance architecture into the 17th and 18th centuries there was little change in this relationship; but on the whole sculpture tended to become more subservient in the later periods when it was often used to enliven, sometimes almost animate, certain features of the architecture, especially where the building meets the line of the sky.

Greek 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 maintains its identity as sculpture though it blends harmoniously with the architecture and embellishes and adds to its meaning. Most free-standing Greek 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.