ABSTRACT
Carving, Modelling and Agostino Classical low relief is, essentially, an engraving; in actuality, a raised surface surrounded sometimes by a grooved outline. This contour is clearer from the distance than a general incising of the stone would be. I rarely find a deeper inspiration behind such relief. I t is intended that the figure should look as flat as possible on the raised surface. Relief is substituted for engraving merely in the interests of greater clearness. An Agostino relief is exactly opposite in conception and technique. It is intended that the figure should look as round as possible, while the lower the surfaces by which the effect is achieved, the better. So great is the three-dimensional significance of some of the Tempio reliefs, that one needs to touch their surfaces to realize fully the degree of their flatness.
