Stiacciato

Stiacciato or schiacciato is a technique where a sculptor creates a very shallow relief sculpture with carving only millimetres deep.[1] To give the illusion of greater depth, the thickness of the carving gradually decreases from the foreground to the background. In some ways it is more similar to a two-dimensional image than a three-dimensional sculpture. The technique allows the use of perspective in the relief. In Italian rilievo schiacciato is the full term.

Donatello's schiacciato work Herod's Banquet, Siena Baptistery.

Donatello's relief of the "Assumption of the Virgin", on the Tomb of Cardinal Rainaldo Brancacci, 1426-28.

The Renaissance master who also became an art historian of the period, Giorgio Vasari, writes of the technique:

The third types are called bas- and stiacciati-relief, which have nothing in them but drawing the figure with dents and schiacciato relief. They are very difficult if there is a large amount of drawing and invention involved, because it is hard to give these things grace thanks to the mode's love of contours. And Donato [ie Donatello] worked best of all sculptors in this genre, with art, drawing and invention. We see many of this kind [of sculpture in the form of] highly-figured ancient Aretine vases, masks and other ancient works; and similarly in ancient cameos and in bronze-stamping cones for medals and coins.

The technique was mainly used in the fifteenth and sixteenth centuries. It was begun and dominated by Donatello.[2] The earliest surviving example is his St. George Freeing the Princess (1416-1417). His other works in the genre include The Ascension with Christ Giving the Keys to Saint Peter (1428-30), for an unknown location but in the Medici collection by the end of the century, the Pazzi Madonna (1430), The Assumption of the Virgin (Sant'Angelo a Nilo, Naples, 1426-1428), The Feast of Herod (Siena Baptistery, 1423-1427), along with The Virgin and Child (1426), attributed to his workshop.