style of design, in which the darks and lights are both flat, and terminated by sharp edges; while the use of the light mass is in the same way associated with a softened and full manner of design, in which the darks are much warmed by reflected lights, and the lights are rounded and melt into them. The term applied by Milton to Doric bas-relief—'bossy'—is, as is generally the case with Milton's epithets, the most comprehensive and expressive of this manner, which the English language contains; while the term which specifically describes the chief member of early Gothic decoration, feuille, foil or leaf, is equally significative of a flat space of shade.
XV. We shall shortly consider the actual modes in which these two kinds of mass have been treated. And, first, of the light, or rounded, mass. The modes in which relief was secured for the more projecting forms of bas-relief, by the Greeks, have been too well described by Sir Charles Eastlake[1] to need recapitulation; the conclusion which forces itself upon us from the facts he has remarked, being one on which I shall have occasion farther to insist presently, that the Greek workman cared for shadow only as a dark field where-from his light figure or designs might be intelligibly detached: his attention was concentrated on the one aim at readableness, and clearness of accent; and all composition, all harmony, nay, the very vitality and energy of separate groups were, when necessary, sacrificed to plain speaking. Nor was there any predilection for one kind of form rather than another. Rounded forms were, in the columns and principal decorative members, adopted, not for their own sake, but as characteristic of the things represented. They were beautifully rounded, because the Greek habitually did well what he had to do, not because he loved roundness more than squareness; severely rectilinear
