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Rh renown to the cathedral of Trier since the beginning of the 12th century (Gesta Trevir., Mon. Germ. Scr. viii. p. 152).

The number of relics increased to a fabulous extent during the middle ages. There were churches which possessed hundreds, even thousands, of relics. In the cathedral of Eichstätt were to be found, as early as 1071, 683 relics (Gundech, Lib. pont. Eist., Mon. Germ. Scr. vii. p. 246 seq.); the monastery of Hirschau had 222 in the year 1091 (De cons. mai. mon., Mon. Germ. Scr. xiv. p. 261); the monastery of Stedernburg 515 in the year 1166 (Ann. Sted. Scr. xvi. p. 212 seq.). But these figures are trifling compared with those at the end of the middle ages. In the year 1520 could be counted 19,013 in the Schlosskirche at Wittenberg, and 121,483 in the Schlosskirche at Halle in 1521 (Köstlin, Friedrich der W., und die Schlosskirche zu Wittenberg, p. 58 seq.; Redlich, Cardinal Albrecht und das Neue Stift zu Halle, p. 260). There were also collections on the same scale belonging to individuals; a patrician of Nuremberg named Muffel was able to gain possession of 308 relics (Chroriken der deutschen Städte, xi. p. 745).

It is curious that while the popular craving for relics had passed all bounds, medieval theology was very cautious in its declarations on the subject of the veneration of relics. Thomas Aquinas based his justification of them on the idea of reverent commemoration; since we venerate the saints, we must also show reverence for their relics, for whoever loves another does honour to that which remains of him after death. On this account it is our duty, in memory of the saints, to pay due honour to their relics and especially to their bodies, which were the temples and dwellings of the Holy Ghost in which He dwelt and worked, and which in the resurrection are to be made like to the body of Christ; and in likewise because God honours them, in that He works wonders in their presence (Summa theol. iii. qu. 25, art. 6)., The great scholastic philosopher abandoned the theory that the relics in themselves are vessels and instruments of the divine grace and miraculous power. But these ideas were revived, on the other hand, by the Catholicism of the counter-Reformation, which again taught and teaches that God grants many benefits to mankind through the sacred bodies of the martyrs (Conc. Trid. sess. xxv.). The doctrine has adapted itself to the popular belief.
 * (A. H.*)

 RELIEF (through Fr. from Lat. relevare, to lift up), an act of raising or lifting off or up. Apart from the general sense of a mitigation, cessation or removal of pain, sorrow, discomfort, &c., and the artistic use (It. relievo) of the projection of a figure or design in sculpture from the ground on which it is formed, which is treated below, the term “relief” is used in the following senses; it was one of the feudal incidents between lord and vassal, and consisted of a payment to the lord in kind or money made by the heir on the death of the ancestor for the privilege of succession, for, fiefs not being hereditary, the estate had lapsed to the lord; by this payment the heir caducum praedium relevabat (Du Cange, Gloss. s.v. Relevare). The word is also generally used, in law, for any exemption granted by a court from the strict legal consequences of an act, &c., e.g. to a parliamentary candidate from the penal consequences ensuing from breaches of the regulations of the Corrupt and Illegal Practices Acts. Relief is also the term used in English law for the assistance given to the indigent poor by the Poor Law authorities (see ).  RELIEF, a term in sculpture signifying ornament, a figure or figures raised from the ground of a flat surface of which the sculptured portion forms an inherent part of the body of the whole. The design may be in high relief—“” (q.v.), or low relief— “bas-relief” or “” (q.v.); in the former case the design is almost wholly detached from the ground, the attachment, through “under-cutting,” remaining only here and there; in the latter it is wholly attached and may scarcely rise above the surface (as in the modern medal), or it may exceed in projection to about a half the proportionate depth (or thickness) of the figure or object represented. Formerly three terms were commonly employed to express the degree of relief—alto-relievo, basso-relievo and mezzo-relievo (or half-relief); but the

two last-named have been merged by modern custom into “low-relief,” to the disadvantage of accurate description. The term relief belongs to modern sculpture. To low relief as understood by us Pliny applied the word anaglypta, but it is to be observed that embossing and chasing came within the same category. It may be considered that less sculptural skill (independently of manipulative skill) is needed in high relief than in low relief, because in the former the true relative proportions in the life (whether figure or other object) have to be rendered, while in the latter, although the true height and, in a measure, breadth can be given, the thickness of the object is reduced by at least one-half, sometimes to almost nothing; and yet in spite of this departure from actuality, this abandonment of fact for a pure convention, a true effect must still be produced, not only in respect to perspective, but also of the actual shadows cast. And insomuch as the compositions are often extremely complicated and have sometimes to suggest retreating planes, the true plane of the material affords little scope for reproducing the required effect. In the beginning the essential idea of the relief was always maintained: that is to say, the sense of the flatness of the slab from which it was cut was impressed throughout the design on the mind of the spectator. Thus the Egyptians merely sunk the outlines and scarcely more than suggested the modelling of the figures, which never projected beyond the face of the surrounding ground. The Persians, the Etruscans and the Greeks carried on the art to the highest perfection, alike in sculpture and architectural ornament, and they applied it to gem sculpture, as in the case of “cameo.” Similarly, the inverse treatment of relief—that is, sunk below the surface, in order that when used for seals a true relief is obtained—was early brought to great completeness; this form of engraving is called “intaglio.” The degree of projection in relief, broadly speaking, has varied greatly with the periods of art. Thus, in Byzantine and Romanesque art the relief was low. In Gothic it increased with the increased desire to render several planes one behind the other. With the advent of the Renaissance it became still more accentuated, the heads and figures projecting greatly; but such high relief is sometimes found in early work, especially in metal-work. Although we see a return to lower relief in the Henri II. period, it becomes stronger in the Louis XIII. style, very full in Louis XIV. and Louis XV., but in Louis XVI. is considerably reduced.  RELIGION. The origin of the Latin word rěligio or relligio has been the subject of discussion since the time of Cicero. Two alternative derivations have been given, viz. from rělěgere, to gather together, and rěligare, to bind back, fasten. Relegere meant to gather together, collect, hence to go over a subject again in thought, from re and legere, to collect together, hence to read, collect at a glance. This view is that given by Cicero (Nat. Deor. ii. 28, 72). He says: “Qui omnia quae ad cultum deorum pertinerent diligenter retractarent et tanquam relegerent, sunt dicti religiosi ex relegendo,” “men were called ‘religious’ from relegere, because they reconsidered carefully and, as it were, went over again in thought all that appertained to the worship of the gods.” He compares elegantes from eligere, diligentes from diligere, and continues, “his enim in verbis omnibus inest vis legendi eadem quae in religioso.” This view is supported by the form of the word in the verse quoted by Gellius (iv. 9), “religentem esse oportet, religiosum nefas,” and by the use of the Greek, to pay heed to, frequently with a negative, in the sense of the Latin negligere (nec-legere), cf. (Homer, Il. xvi. 388), heeding not the visitation of the gods, or (Od. ix. 275). The alternative derivation, from religare, to fasten, bind, is that adopted by Lactantius (Inst. iv. 28), “Vinculo pietatis obstricti, Deo religati sumus unde ipsa religio nomen cepit.” He quotes in support the line from Lucretius (i. 931), “religionum nodis animos exsolvere.” Servius (on Virgil, Aen. viii. 349) and St Augustine (Retract. i. 13) also take religare as the source of the word. It is one that has certainly coloured the meaning of the word, particularly in that use which restricts