Relief is a sculptural method in which the sculpted pieces remain attached to a solid background of the same material. The term relief is from the Latin verb relevare , to raise (lit. to lift back). To create a sculpture in relief is to give the impression that the sculpted material has been raised above the background plane . When a relief is carved into a flat surface of stone (relief sculpture) or wood ( relief carving ), the field is actually lowered, leaving the unsculpted areas seeming higher. The approach requires a lot of chiselling away of the background, which takes a long time. On the other hand, a relief saves forming the rear of a subject, and is less fragile and more securely fixed than a sculpture in the round, especially one of a standing figure where the ankles are a potential weak point, particularly in stone. In other materials such as metal, clay, plaster stucco , ceramics or papier-mâché the form can be simply added to or raised up from the background. Monumental bronze reliefs are made by casting .
65-683: The Warren Cup is an ancient Greco-Roman silver drinking cup decorated in relief with two images of male same-sex acts. It was purchased by the British Museum for £1.8 million in 1999, the most expensive single purchase by the museum at that time. It is usually dated to the time of the Julio-Claudian dynasty (1st century AD). The cup is named after its first modern owner, the American Edward Perry Warren , notable for his art collection, which also included
130-532: A "beardless" and clean-shaven "young man" and a smaller figure with long hair indicating he is a "boy" or "adolescent" (now the " eromenos "). The boy's hairstyle is typical of the puer delicatus , a servant-boy or cup or armour bearer. Roman same-sex practice differed from that of the Greeks, among whom pederasty was a socially acknowledged relationship between freeborn males of equal social status. Roman men, however, were free to engage in same-sex relations without
195-463: A "frame" at the original level around the edge of the relief, or place a head in a hemispherical recess in the block (see Roman example in gallery). Though essentially very similar to Egyptian sunk relief, but with a background space at the lower level around the figure, the term would not normally be used of such works. It is also used for carving letters (typically om mani padme hum ) in the mani stones of Tibetan Buddhism . Sunk relief technique
260-479: A context in which we could ask how much we understand about attitudes to sexuality when it was made. These objects seem extraordinary to us now, but there were many objects in common use, and wall paintings and mosaics in baths and in private houses, showing very similar imagery. From December 2006 to January 2007 it was exhibited at the Yorkshire Museum . The Warren Cup is the 36th object in A History of
325-539: A decade after the Warren cup was first recorded. In 2008 and 2013, Maria Teresa Marabini Moevs argued on iconographic grounds that the Warren Cup is a modern forgery executed around 1900 to meet the tastes of Edward Perry Warren, the amateur collector who introduced the artifact to the world. Luca Giuliani , a professor of Classical Archaeology at Humboldt University , initially also argued on iconographic grounds that
390-676: A drill rather than chisels , enabling and encouraging compositions extremely crowded with figures, like the Ludovisi Battle sarcophagus (250–260 CE). These are also seen in the enormous strips of reliefs that wound around Roman triumphal columns . The sarcophagi in particular exerted a huge influence on later Western sculpture. The European Middle Ages tended to use high relief for all purposes in stone, though like Ancient Roman sculpture , their reliefs were typically not as high as in Ancient Greece. Very high relief re-emerged in
455-647: A few larger caskets like the Casket with Scenes of Romances (Walters 71264) in Baltimore , Maryland , in the United States. Originally they were very often painted in bright colours. Reliefs can be impressed by stamps onto clay, or the clay pressed into a mould bearing the design, as was usual with the mass-produced terra sigillata of Ancient Roman pottery . Decorative reliefs in plaster or stucco may be much larger; this form of architectural decoration
520-547: A gem seal, perhaps as sculptors trained in the Greek tradition attempted to use traditional Egyptian conventions. Small-scale reliefs have been carved in various materials, notably ivory , wood, and wax. Reliefs are often found in decorative arts such as ceramics and metalwork ; these are less often described as "reliefs" than as "in relief". Small bronze reliefs are often in the form of "plaques" or plaquettes , which may be set in furniture or framed, or just kept as they are,
585-640: A large proportion of the survivals of portable secular art from Late Antiquity . In the Gothic period the carving of ivory reliefs became a considerable luxury industry in Paris and other centres. As well as small diptychs and triptychs with densely packed religious scenes, usually from the New Testament , secular objects, usually in a lower relief, were also produced. These were often round mirror-cases, combs, handles, and other small items, but included
650-478: A number of museums declined to buy it. Thomas's widow sold the cup to the dealer John K. Hewett. Hewett offered the cup to Denys Haynes , Keeper of the Greek and Roman Department at the British Museum who then sought an opinion from his friend Lord Crawford , a trustee of the museum. However, the decision went no further as they thought that they would never persuade the museum's Trustees who were chaired by
715-409: A perceived loss of masculinity only as long as they took the penetrative role and their partner was a social inferior such as a slave or male prostitute: the paradigm of "correct" male sexuality was one of conquest and domination. There are significant differences to pederastic scenes found on classical Greek vases. The sex act is presented in graphic detail, and the "beardless youth" appears to encourage
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#1732773125841780-492: A popular form for European collectors, especially in the Renaissance. Various modelling techniques are used, such repoussé ("pushed-back") in metalwork, where a thin metal plate is shaped from behind using various metal or wood punches, producing a relief image. Casting has also been widely used in bronze and other metals. Casting and repoussé are often used in concert in to speed up production and add greater detail to
845-527: A revival in the 20th century, being popular on buildings in Art Deco and related styles, which borrowed from the ancient low reliefs now available in museums. Some sculptors, including Eric Gill , have adopted the "squashed" depth of low relief in works that are actually free-standing. Mid-relief, "half-relief" or mezzo-rilievo is somewhat imprecisely defined, and the term is not often used in English,
910-453: A single figure; accordingly some writers prefer to avoid all distinctions. The opposite of relief sculpture is counter-relief , intaglio , or cavo-rilievo , where the form is cut into the field or background rather than rising from it; this is very rare in monumental sculpture . Hyphens may or may not be used in all these terms, though they are rarely seen in "sunk relief" and are usual in " bas-relief " and "counter-relief". Works in
975-613: Is a mystery, but we can make a guess. We can date the making of the cup to around the year 10. About 50 years later, the Roman occupation of Jerusalem sparked tensions between the rulers and the Jewish community, and in AD 66 that exploded and the Jews took back the city by force. There were violent confrontations, and it is thought that our cup may have been buried at this date by the owner fleeing from
1040-525: Is found in many styles of interiors in the post-Renaissance West, and in Islamic architecture . Many modern and contemporary artists such as Paul Gauguin , Ernst Barlach , Ernst Ludwig Kirchner , Pablo Picasso , Eric Gill , Jacob Epstein , Henry Moore , Claudia Cobizev , up to Ewald Matare have created reliefs. In particular low reliefs were often used in the 20th century on the outsides of buildings, where they are relatively easy to incorporate into
1105-475: Is not to be confused with "counter-relief" or intaglio as seen on engraved gem seals – where an image is fully modeled in a "negative" manner. The image goes into the surface, so that when impressed on wax it gives an impression in normal relief. However many engraved gems were carved in cameo or normal relief. A few very late Hellenistic monumental carvings in Egypt use full "negative" modelling as though on
1170-487: Is often used for the background areas of compositions with the main elements in low-relief, but its use over a whole (usually rather small) piece was effectively invented and perfected by the Italian Renaissance sculptor Donatello . In later Western art, until a 20th-century revival, low relief was used mostly for smaller works or combined with higher relief to convey a sense of distance, or to give depth to
1235-424: Is therefore cheaper to produce, as less of the background needs to be removed in a carving, or less modelling is required. In the art of Ancient Egypt , Assyrian palace reliefs , and other ancient Near Eastern and Asian cultures, a consistent very low relief was commonly used for the whole composition. These images would usually be painted after carving, which helped define the forms; today the paint has worn off in
1300-520: The Alhambra ), Rome, and Europe from at least the Renaissance, as well as probably elsewhere. However, it needs very good conditions to survive long in unmaintained buildings – Roman decorative plasterwork is mainly known from Pompeii and other sites buried by ash from Mount Vesuvius . Low relief was relatively rare in Western medieval art , but may be found, for example in wooden figures or scenes on
1365-747: The Archbishop of Canterbury . In 1966 the Cup was offered for sale at £6,000 and bought by a private collector abroad. In 1998 it was removed from the Metropolitan Museum of Art and sold to a British private collector. The cup was then acquired by its present owner, the British Museum , in 1999 for £1.8 million, with funds provided by the Heritage Lottery Fund , National Art Collections Fund and The British Museum Friends , to prevent its going abroad again. This was, at that time,
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#17327731258411430-480: The Khmer Empire . High relief (or altorilievo , from Italian ) is where in general more than half the mass of the sculpted figure projects from the background. Indeed, the most prominent elements of the composition, especially heads and limbs, are often completely undercut, detaching them from the field. The parts of the subject that are seen are normally depicted at their full depth, unlike low relief where
1495-524: The article wizard to submit a draft for review, or request a new article . Search for " Corona ovale " in existing articles. Look for pages within Misplaced Pages that link to this title . Other reasons this message may be displayed: If a page was recently created here, it may not be visible yet because of a delay in updating the database; wait a few minutes or try the purge function . Titles on Misplaced Pages are case sensitive except for
1560-1044: The 1,460 panels of the 9th-century Borobudur temple in Central Java , Indonesia , narrating the Jataka tales or lives of the Buddha . Other examples are low reliefs narrating the Ramayana Hindu epic in Prambanan temple, also in Java, in Cambodia , the temples of Angkor , with scenes including the Samudra manthan or "Churning the Ocean of Milk" at the 12th-century Angkor Wat , and reliefs of apsaras . At Bayon temple in Angkor Thom there are scenes of daily life in
1625-602: The 16th century it was used for large figures (many also using high relief) at the Chateau of Fontainebleau , which were imitated more crudely elsewhere, for example in the Elizabethan Hardwick Hall . Shallow-relief, in Italian rilievo stiacciato or rilievo schicciato ("squashed relief"), is a very shallow relief, which merges into engraving in places, and can be hard to read in photographs. It
1690-821: The 1920s, Warren lent the cup to the Martin von Wagner Museum in Würzburg . In 1985 through to 1991 the Warren Cup was on loan and on display by the Antikenmuseum Basel und Sammlung Ludwig , Basel. From 1992 to 1998, the cup was put on display at Metropolitan Museum of Art in New York as an anonymous loan. It was the subject of a devoted exhibition in Room 3 at the British Museum from 11 May to 2 July 2006, entitled "The Warren Cup: Sex and society in ancient Greece and Rome." We wanted to show this fantastic object in
1755-430: The British Museum, dated the cup to 5–15 CE. Williams identified several factors supporting that dating. The silver alloy being 95% pure is consistent with other known Roman silver vessels, with silver from later periods having a far higher purity. Cracks in the cup retain chemical corrosion products which are symptomatic of age, remaining despite being cleaned twice during the 20th century. An EDX analysis showed that
1820-525: The Renaissance, and was especially used in wall-mounted funerary art and later on Neoclassical pediments and public monuments. In the Buddhist and Hindu art of India and Southeast Asia, high relief can also be found, although it is not as common as low to mid-reliefs. Famous examples of Indian high reliefs can be found at the Khajuraho temples, with voluptuous, twisting figures that often illustrate
1885-407: The Roman goddess of sexuality and love. It has a smaller leaf than the more commonly depicted laurel . Myrtle was used to create the corona ovalis , a military crown awarded as an ovation but a far lesser award than the insignis corona triumphalis , one interpretation of the use of myrtle crowns on the Warren Cup, being a visual pun of homosexual penetration as an easy victory. Warren purchased
1950-514: The Warren Cup was likely to be a twentieth-century forgery. However, he subsequently found that evidence of substantial silver chloride corrosion conclusively established the cup's authenticity. The Warren Cup is an estimated 95% pure silver with some copper and trace amounts of lead and gold. It was made in five sections: The cup is etched and pitted due to the effect of corrosive cleaning deposits; however, remnants of silver chloride and black silver sulphide survive in crevices. A crack runs from
2015-759: The World in 100 Objects , a BBC Radio 4 series first broadcast in 2010. In 2011 (January to April) it was lent to the University of Nottingham for an exhibition in the Weston Gallery titled "Roman Sexuality: Images, Myths and Meanings." In 2012 the cup was exhibited at Plymouth City Museum and Art Gallery in an LGBT "Pride in Our Past Exhibition" . An exhibition on the Isle of Wight on "Roman Sexuality: Images, Myths and Meanings" featured
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2080-1058: The architecture as decorative highlights. Notable examples of monumental reliefs include: Smaller-scale reliefs: Corona ovale Look for Corona ovale on one of Misplaced Pages's sister projects : [REDACTED] Wiktionary (dictionary) [REDACTED] Wikibooks (textbooks) [REDACTED] Wikiquote (quotations) [REDACTED] Wikisource (library) [REDACTED] Wikiversity (learning resources) [REDACTED] Commons (media) [REDACTED] Wikivoyage (travel guide) [REDACTED] Wikinews (news source) [REDACTED] Wikidata (linked database) [REDACTED] Wikispecies (species directory) Misplaced Pages does not have an article with this exact name. Please search for Corona ovale in Misplaced Pages to check for alternative titles or spellings. You need to log in or create an account and be autoconfirmed to create new articles. Alternatively, you can use
2145-579: The background. From the Parthenon Frieze onwards, many single figures in large monumental sculpture have heads in high relief, but their lower legs are in low relief. The slightly projecting figures created in this way work well in reliefs that are seen from below, and reflect that the heads of figures are usually of more interest to both artist and viewer than the legs or feet. As unfinished examples from various periods show, raised reliefs, whether high or low, were normally "blocked out" by marking
2210-447: The composition, especially for scenes with many figures and a landscape or architectural background, in the same way that lighter colours are used for the same purpose in painting. Thus figures in the foreground are sculpted in high-relief, those in the background in low-relief. Low relief may use any medium or technique of sculpture, stone carving and metal casting being most common. Large architectural compositions all in low relief saw
2275-644: The corrosion was silver chloride. Subsequent testing in 2015 of the inside repoussé shelf and the reverse of the liner, neither of which had been cleaned, found substantial silver chloride corrosion. The decorative style and shape have a close parallel with many other vessels of the period, such as the Chryses kantharos and the closely matching figures of nude men on the Hoby skyphoi , discovered in Lolland in Denmark
2340-539: The cup and approached the New York collector Walter Baker, however Baker was hesitant to proceed. In February 1953 it was posted by Thomas to Walter Baker, however US Customs impounded the box requiring a decision from Washington as to whether to admit it or to prohibit it as pornography. It was refused entry to the US on that basis and it took until October 1954 to be returned to the UK, by which time Thomas had died. After that event,
2405-624: The cup became part of the inheritance for Asa Thomas, Warren's secretary and eventual business partner. It was part of the auction of the contents of Lewes House. in 1929, but failed to sell and stayed hidden away in the Thomas' attic. The cup was sent for cleaning after the Lewes House auction and photographs taken of the cup in 1931 show that it had been cleaned before that year. In November 1952 Harold W. Parsons , an art historian and one of Warren's past companions, took responsibility for selling
2470-777: The cup in February to July 2014, at the Brading Roman Villa . Due to his interest in the cup, Warren had a replica made for John Beazley . The replica was donated to the Ashmolean Museum , Oxford as part of the Beazley Gift in 1966. The replica became a prominent feature in an exhibition at the museum in 1985. There are six known replicas of the original Warren Cup. In April 2014, a copy owned by an anonymous private collector in Cape Town , South Africa,
2535-636: The cup in Rome from a dealer in 1911 for £2,000. It was bought in Jerusalem and said to have been found near the city in Battir (ancient Betar), with coins of the emperor Claudius , possibly buried during the upheavals of the Jewish Revolt . We don't know for certain, but it is thought that the Warren Cup was found buried at Bittir, a town a few miles south-west of Jerusalem. How it got to this location
2600-411: The elements seen are "squashed" flatter. High relief thus uses essentially the same style and techniques as free-standing sculpture, and in the case of a single figure gives largely the same view as a person standing directly in front of a free-standing statue would have. All cultures and periods in which large sculptures were created used this technique in monumental sculpture and architecture. Most of
2665-522: The erotic Kamasutra positions. In the 9th-century Prambanan temple, Central Java , high reliefs of Lokapala devatas , the guardians of deities of the directions, are found. The largest high relief sculpture in the world is the Stone Mountain Confederate Memorial in the U.S. state of Georgia , which was cut 42 feet deep into the mountain, and measures 90 feet in height, 190 feet in width, and lies 400 feet above
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2730-495: The fighting. The cup became a prized item in Warren's large art collection, referring to it with friends as the "Holy Grail". The first publication featuring the cup was in 1921, when Gaston Vorberg published a volume of 113 plates of erotic artwork from ancient artefacts. The photographs show the cup in an uncleaned state. The cup was included in Warren's book A defence of Uranian Love , first published in 1928 under his pseudonym of Arthur Lyon Raile . On Warren's death in 1928,
2795-524: The final relief. In stone, as well as engraved gems, larger hardstone carvings in semi-precious stones have been highly prestigious since ancient times in many Eurasian cultures. Reliefs in wax were produced at least from the Renaissance . Carved ivory reliefs have been used since ancient times, and because the material, though expensive, cannot usually be reused, they have a relatively high survival rate, and for example consular diptychs represent
2860-539: The front the small variations in depth register as a three-dimensional image. Other versions distort depth much less. The term comes from the Italian basso rilievo via the French bas-relief ( French pronunciation: [baʁəljɛf] ), both meaning "low relief". The former is now a very old-fashioned term in English, and the latter term is becoming so. Low relief is a technique which requires less work, and
2925-538: The great majority of surviving examples, but minute, invisible remains of paint can usually be discovered through chemical means. The Ishtar Gate of Babylon , now in Berlin, has low reliefs of large animals formed from moulded bricks, glazed in colour. Plaster, which made the technique far easier, was widely used in Egypt and the Near East from antiquity into Islamic times (latterly for architectural decoration, as at
2990-467: The ground. Sunk or sunken relief is largely restricted to the art of Ancient Egypt where it is very common, becoming after the Amarna period of Ahkenaten the dominant type used, as opposed to low relief. It had been used earlier, but mainly for large reliefs on external walls, and for hieroglyphs and cartouches . The image is made by cutting the relief sculpture itself into a flat surface to enhance
3055-435: The images on the Warren Cup provide an important insight into this aspect of their culture. One side of the Warren Cup depicts a "bearded man" and a "beardless youth" engaging in anal sex in a reclining position, with the youth lowering himself using a strap or sash to be penetrated. A boy watches from behind a door. The two figures do not appear to be a great difference in age and are of a similar size. The apparent weight of
3120-472: The impression of three-dimensionality. In a simpler form, the images are usually mostly linear in nature, like hieroglyphs, but in most cases the figure itself is in low relief, but set within a sunken area shaped round the image, so that the relief never rises beyond the original flat surface. In some cases the figures and other elements are in a very low relief that does not rise to the original surface, but others are modeled more fully, with some areas rising to
3185-605: The insides of the folding wings of multi-panel altarpieces . The revival of low relief, which was seen as a classical style, begins early in the Renaissance; the Tempio Malatestiano in Rimini , a pioneering classicist building, designed by Leon Battista Alberti around 1450, uses low reliefs by Agostino di Duccio inside and on the external walls. Since the Renaissance plaster has been very widely used for indoor ornamental work such as cornices and ceilings, but in
3250-445: The latter. These, along with the careful delineation of ages and status and the wreaths worn by the youths, all suggest a cultured, elite, Hellenized setting with music and entertainment. The active partners in the two sexual depictions are wearing leaf crowns, likely to be symbolically made from myrtle . Myrtle is an evergreen shrub, grown in the Roman period for medical and ritual purposes, such as weddings, and dedicated to Venus ,
3315-881: The many grand figure reliefs in Ancient Greek sculpture used a very "high" version of high relief, with elements often fully free of the background, and parts of figures crossing over each other to indicate depth. The metopes of the Parthenon have largely lost their fully rounded elements, except for heads, showing the advantages of relief in terms of durability. High relief has remained the dominant form for reliefs with figures in Western sculpture, also being common in Indian temple sculpture. Smaller Greek sculptures such as private tombs, and smaller decorative areas such as friezes on large buildings, more often used low relief. Hellenistic and Roman sarcophagus reliefs were cut with
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#17327731258413380-706: The marble version of Rodin 's The Kiss , now in Tate Modern , and an Adam and Eve by Lucas Cranach the Elder , now in the Courtauld Institute of Art , both also in London. The cup originally had two vertical handles, now lost. Representations of sexual acts are widely found in Roman art , although surviving male-female scenes greatly outnumber same-sex couples. It cannot be assumed that homoerotic art
3445-598: The most expensive single item ever acquired by the British Museum, and many times the price at which it had been offered to them in the 1950s. John R. Clarke , Professor in Fine Arts at the University of Texas at Austin , has approximated the dating of the cup with similarly styled objects found in Pompeii , due to the lack of archaeological context. Dyfri Williams , previously the Keeper of Greek and Roman Antiquities at
3510-559: The open air (if inside caves, whether natural or human-made, they are more likely to be called "rock-cut"). This type is found in many cultures, in particular those of the Ancient Near East and Buddhist countries. A stele is a single standing stone; many of these carry reliefs. The distinction between high and low relief is somewhat subjective, and the two are very often combined in a single work. In particular, most later "high reliefs" contain sections in low relief, usually in
3575-453: The original surface. This method minimizes the work removing the background, while allowing normal relief modelling. The technique is most successful with strong sunlight to emphasise the outlines and forms by shadow, as no attempt was made to soften the edge of the sunk area, leaving a face at a right-angle to the surface all around it. Some reliefs, especially funerary monuments with heads or busts from ancient Rome and later Western art, leave
3640-428: The outline of the figure and reducing the background areas to the new background level, work no doubt performed by apprentices (see gallery). A low relief is a projecting image with a shallow overall depth, for example used on coins, on which all images are in low relief. In the lowest reliefs the relative depth of the elements shown is completely distorted, and if seen from the side the image makes no sense, but from
3705-447: The penetration, grasping his lover's arm. In Roman artwork there is an assumption that the penetrated youth is a slave or prostitute and on the Warren Cup, a mutual tenderness is represented. Both scenes show draped textiles in the background, as well as a cithara (appearing as an eleven-stringed lyre , often symbolic of pleasure and drinking parties) in the former scene and tibiae (reeded pipes) with finger holes being depicted in
3770-463: The plane is only very slightly lower than the sculpted elements. There is also sunk relief , which was mainly restricted to Ancient Egypt ( see below ). However, the distinction between high relief and low relief is the clearest and most important, and these two are generally the only terms used to discuss most work. The definition of these terms is somewhat variable, and many works combine areas in more than one of them, rarely sliding between them in
3835-489: The rim, around the figure of the boy on one side. The base is distorted and broken with the pedestal having been pushed up, denting the cup and causing the cup to lean at an angle. The damage to the base was in modern times, thought to have occurred when the cup was cleaned in the 20th century. The foot was soldered back on to the cup in modern times. It is thought that the cup was moulded twice in modern times due to remains of plaster and silicone rubber found in crevices. During
3900-417: The round". Most ancient architectural reliefs were originally painted, which helped to define forms in low relief. The subject of reliefs is for convenient reference assumed in this article to be usually figures, but sculpture in relief often depicts decorative geometrical or foliage patterns, as in the arabesques of Islamic art , and may be of any subject. Rock reliefs are those carved into solid rock in
3965-463: The technique are described as "in relief", and, especially in monumental sculpture , the work itself is "a relief". Reliefs are common throughout the world on the walls of buildings and a variety of smaller settings, and a sequence of several panels or sections of relief may represent an extended narrative. Relief is more suitable for depicting complicated subjects with many figures and very active poses, such as battles, than free-standing "sculpture in
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#17327731258414030-412: The upper figure, as he lowers himself onto his lover's penis using the support, makes this a non-traditional passive role. The use of a strap or support during sex can be found in other Greek and Roman artworks, a close example being an erotic cup by Onesimos where a woman spreads her legs in anticipation while grasping a strap with her left hand. The other side depicts another scene of anal sex, between
4095-725: The works usually being described as low relief instead. The typical traditional definition is that only up to half of the subject projects, and no elements are undercut or fully disengaged from the background field. The depth of the elements shown is normally somewhat distorted. Mid-relief is probably the most common type of relief found in the Hindu and Buddhist art of India and Southeast Asia . The low to mid-reliefs of 2nd-century BCE to 6th-century CE Ajanta Caves and 5th- to 10th-century Ellora Caves in India are rock reliefs. Most of these reliefs are used to narrate sacred scriptures, such as
4160-561: Was stolen. Relief There are different degrees of relief depending on the degree of projection of the sculpted form from the field, for which the Italian and French terms are still sometimes used in English. The full range includes high relief (Italian alto-rilievo , French haut-relief ), where more than 50% of the depth is shown and there may be undercut areas, mid-relief (Italian mezzo-rilievo ), low relief (Italian basso-rilievo , French: bas-relief ), and shallow-relief (Italian rilievo schiacciato ), where
4225-421: Was uncommon as the modern record may be biased due to selective destruction or non-publication of pederastic works in later times. Illustrated drinking cups, often in pairs, were intended as dinner-party conversation pieces. Roman artwork on pottery, glass and wall-paintings with sexual acts represented were popular and were intended to be seen by all sections of society. The Romans had no word for homosexuality, and
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