low relief 浅浮雕
古希腊的雕塑（Greek sculpture），表达的是去除自身个性化的一种艺术，选了一个德语词来描述Allgemeinheit——breadth, generality, universality,which prompted them( the most excellent Greek sculptors ) constantly to seek the type in the individual, to purge from the individual all that belongs only to the individual, all the accidents, feelings, actions of a special moment, all that in its nature enduring for a moment loos like a frozen thing if you arrest it, to abstract and express only what is permanent, structural, abiding.
随后又引出Michelangelo, 与古希腊雕塑不同的是，Michelangelo保留了雕塑个性化的强烈表达，同时又避免了过重的现实主义，防止雕塑这种艺术形式变成夸张的模仿手段…in a way quite personal and peculiar to himself, which often is, and always seems, the effect of accident, he secured for his work individuality and intensity of expression, while he avoided a too hard realism, that tendency which the representation of feeling in sculpture always has to harden into caricature.
以维纳斯为例（the Venus of Melos),fraying its surface and softening its lines, so that some spirit in the thing seems always on the point of breaking out of it, as if in it classical sculpture had advanced already one step into the mystical Christian age…..
文后注解中顺带提了一下Oscar Wilde在他的诗The Burden of Itys中提到了the Venus of Melos，Itys是个希腊神话中悲剧角色，死后变成了夜莺，也有说变成了燕子，Oscar的这首诗围绕她的歌声有感而发的。
最后本篇文章的主题人物Luca della Robbia and the other Tuscan sculptors of the fifteenth century, 他们的雕塑作品既融合了古希腊的Allgemeinheit，又像Michelangelo一样，在作品中个性化的表达，将高尚的品质与日常生活相融合，为他们的作品添上了独有的魅力。...to bring the workman himself very near to us, the impress of a personal quality, a profound expressiveness….…it is the characteristic which alone makes works in the imaginative and moral order really worth having at all. It is because the works of the artists of the fifteenth century possess this quality in an unmistakeable degree that one is anxious to know all that can be known about them and explain to oneself the secret of their charm.