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62-424: From the description of Father Manuel de Brito Alão, the descent from Sítio to Ribeira da Pederneira was accomplished by a steep incline, of loose sand. Much of the nobility that visited the sanctuary of Nossa Senhora da Nazaré followed this road, seated on "carpets, that were pulled at the corners, along with their servants, safe and composed". This form of transport was used up to the 19th century. On 15 October 1888,

124-463: 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

186-444: A cost of 1.5 million Euros. The project included repair to the chassis structure, repairs to the architecture and functioning of the stations, as well as the substitution of the carriages. It was reopened on 24 June 2002, and began operating with a 15-minute turnaround. The funicular is situated in an urban context, inclined along and dug into a steep promontory with a 42% slope connecting the settlements of Praia and Sítio, and provides

248-662: 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

310-631: 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

372-543: 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,

434-625: 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

496-453: A notable view of Nazaré. The terminals are built on a slope matching the track gradient. The Praia terminal joins the neighboring two facades, and the Sítio terminal is housed beside the street leading through the belvedere (with public bathrooms). The system includes two cars, linked by a subterranean cable, that ascend and descend simultaneously along the line. At the beginning and end terminals,

558-565: A partnership was developed by Tavares Crespo, Francisco Morais, Joaquim Carneiro D’Alcáçovas de Sousa Chicharro, José Eduardo Ferreira Pinheiro, Barão de Kessler and engineer Raoul Mesnier du Ponsard to construct a funicular in Nazaré, with the entity seated in Lisbon. On 28 July 1889, the line was blessed and inaugurated as the funicular of Nossa Senhora da Nazaré, in honour of the Virgin Mary, protector of

620-486: 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

682-480: 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 . There are different degrees of relief depending on

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744-517: 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,

806-585: A revolver (1879), a modified carbine breech loading mechanism (1879), a repeating rifle (1879 & 1880), and a mechanical calculating machine called the Aritmotecno (1882). In 1903, a syndicate that included Mesnier petitioned for a concession to build an aerial cableway system in São Tomé e Principe to transport goods over its steep terrain and to provide mechanical power to remote locations where needed for industrial work, e.g. logging activity. Mesnier laid out

868-407: 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,

930-453: 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

992-520: 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

1054-471: 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

1116-478: 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

1178-480: Is still operating, though not a national monument. This article about a Portuguese engineer, inventor or industrial designer is a stub . You can help Misplaced Pages by expanding it . Bas relief 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

1240-424: 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

1302-510: 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

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1364-474: 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

1426-564: The San Francisco cable-car lines , Lisbon's did not run on generally wide and straight streets. This required innovative solutions for the engineering problems posed by the geometry. To thread the Arco de Santo Andrė and its hairpin turn up the Calçada da Graça, Mesnier designed a double grip system on the cars to engage a low-tension cable through the turn. One was used to travel through the turns and

1488-638: The Santa Justa Lift , particularly. Rua Raúl Mesnier du Ponsard, in the Lumiar neighborhood of Lisbon, is named after him. In 2002, Portugal declared four of his engineering works in Lisbon to be national monuments : the Santa Justa Lift , the Ascensor da Glória , the Ascensor da Bica , and the Ascensor do Lavra . Outside of Lisbon, the Elevador do Bom Jesus is also a national monument. The Nazaré Funicular

1550-556: The Santa Justa Lift , the Ascensor da Glória , the Ascensor da Bica , and the Ascensor do Lavra , as well as the Bom Jesus do Monte Funicular in Braga . Mesnier was the son of French parents Jacques Robert Mesnier de Ponsard and Marie Élodie Ronson; his father worked in Braga at its gas company. He had an older brother, Pedro Gastão, born in 1846, who became a diplomatic aide. He studied at

1612-994: 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

1674-581: 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

1736-630: The Iberian Peninsula) and designed the original Guindais funicular in Porto . Following the success of the Bom Jesus Funicular, he became involved with various transport projects in Lisbon that still operate: the Ascensor do Lavra , the Ascensor da Glória , the Ascensor da Bica and the Santa Justa Lift . Other of his works were decommissioned in later years: the lifts at Biblioteca and Chiado, and

1798-591: The Liceu do Porto and later mathematics and philosophy at the University of Coimbra . Following his degree, he apprenticed in mechanical engineering at shops in France, Germany and Switzerland. Returning to Portugal, in 1871 he married Sofia Adelaide Ferreira Pinto Basto in Porto on 3 September. As an engineer on various public works, Mesnier directed the construction of the Bom Jesus do Monte Funicular in Braga (the oldest in

1860-515: 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

1922-427: The accident was caused by deterioration resulting from water infiltration in the area around the cable. The funicular service was not reopened until 1 April 1968. The redesigned cars used a new traction system with an electric transmission that included a three-fold braking mechanism: automatic, hydro-electric pressure and manual. In September 2001, the funicular was closed to complete repairs and modernize its cars, at

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1984-571: 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

2046-526: The cable-cars serving Graça, Estrela, and São Sebastião. Outside of Lisbon, Mesnier built the Nazaré Funicular , and the defunct Comboio do Monte, in Funchal . Mesnier contributed engineering designs for three Lisbon cable-car lines: Graça, Estrela, and São Sebastião. Worldwide, only four cable-car services were ever built outside of Anglophone countries (Great Britain, Australia, New Zealand, USA). Unlike

2108-447: 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

2170-479: 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

2232-404: The electrical station. On 19 December of the same year, the funicular was sold to the municipal council of Nazaré for $ 398,013.00. On 15 February 1963, there was an accident, caused by the rupture of the cable that resulted in the death of two people, and injury to 50 others. The incident went to trial, but the accused were acquitted; the administrator of the municipal water services indicated that

2294-411: 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

2356-402: The entrance to the terminal tunnel at Sítio is a panel of azulejo tile, in blue and white, with the representation of the funicular and marble plaque with the inscription: In the tunnel is another marble inscription: In the vestibulo of the terminal, is a bronze low relief, flanked by two inscriptions: The other, a bas relief authored by Ferreira da Silva, and integrated into the facade of

2418-417: The equipment, he hoped to form a company and find investors to build and operate the facility. During his lifetime, Mesnier was acknowledged for his engineering accomplishments in Lisbon. On two separate occasions, transport companies affiliated with him asked him for public announcements of support for their work. At the time of his death, he was memorialized by an engineering trade journal for his work on

2480-508: 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

2542-518: 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

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2604-493: The former-Hotel D. Fuas, reproduced and offered to the municipality of Nazaré by Luís Tereso Henriques (28 July 2004): Raoul Mesnier du Ponsard Raoul Mesnier du Ponsard ( São Nicolau , Porto , 2 April 1848 — Inhambane , Mozambique 26 May 1914) was a Portuguese engineer of French parentage, known for building many elevators and funiculars in Portugal. He is particularly known for his engineering work on Lisbon landmarks

2666-530: 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

2728-502: The general advantages for such systems in the article. However, there is no evidence in S. Tomé of its ever being built. Also in 1903, Mesnier made a bid to the minister of the Navy for a concession to operate an electrically powered system for ship cargo and train loading and unloading at the port of Lourenco Marques (Maputo), Mozambique . Included in the project were new jetties to handle deep-draft ships. Pending successful patent awards for

2790-529: 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

2852-463: 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

2914-472: 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

2976-592: 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

3038-865: 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

3100-400: The one used in the funicular of Lavra , came from Germany from the factory of Maschinenfabrik Esslingen . The cars used a red livery and transported 60 passengers, but only during the summer beach season, with trips operating between 6:00 a.m. and 9:00 p.m. In 1918, an allotment of wood was ceded to the funicular to allow it to continue to operate. On 1 October 1924, the funicular

3162-551: 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

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3224-453: 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

3286-515: The other on the rest of the route. In 1913, Mesnier made an engineering study for a railway in Mozambique linking Inhambane with Inharrime. Work on the railway took place between 1909 and 1915, and railway personnel were reported to be on-site in January 1908. Mesnier may have been at work there at the time of his death. Mesnier published designs for other inventions, notable amongst which are

3348-428: 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

3410-463: 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

3472-417: 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

3534-463: 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

3596-459: The town. At the event was the Ministro das Obras Públicas ( Minister of Public Works ) and the Ministro da Fazenda ( Minister of Finances ) and Dr. António Lúcio Tavares Crespo, then owner of the line. Initially, the funicular was moved by a steam-powered machine situated in the area of Sítio, where the promontory overlooking the village led onto a 50 metres (160 ft) tunnel and ramp. The boiler

3658-423: The tracks are shared, but separate along the descent/ascent, allowing them to pass at the midpoint. The main cable travels along the line powered by electricity. Each carriage is painted blue, and includes three interior compartments and three access doors with the extreme ends occupied by the driving sections. The central area is occupied by eight benches oriented longitudinally and four benches transversally. Over

3720-717: 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

3782-635: Was acquired by the Real Casa, then dominated by the Confraria da Nossa Senhora da Nazaré , with the objective of operating for a year. This was to facilitate ease of access by religious people to the sanctuary of Nossa Senhora da Nazaré, and collect funds to maintain the Hospital de Nossa Senhora da Nazaré. In 1931, a report to the Minister requested authorization to sell to the funicular to the municipal council, along with

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3844-464: Was heated by wood, and since there were no fountains in Sítio, the water for the tank was transported from Praia by two cars. The funicular line, with an extension of 318 metres (1,043 ft) and 42% slope, follows a channel between the promontory and beach, terminating at the Largo das Caldeiras . The lower terminal is protected by two lateral walls to prevent the invasion of sand. The mechanism, similar to

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