While a three-dimensional statue may be photographed from any angle, some views are more pervasive than others, and a published photograph of an Attic grave relief not in a frontal view can hardly be found at all. Relief sculpture seems to ask for a frontal view, while sculpture in the round presents itself to the viewer wherever s/he stands. Since the late nineteenth century, however, there have also been attempts to limit the range of “possible” views onto freestanding sculpture by defining for each statue a principal view, or Hauptansicht. Such attempts thereby turn sculpture into relief. The conceptualization of sculpture as relief can be traced back both to sculptor Adolf Hildebrand’s Das Problem der Form in der bildenden Kunst (1893) and to the rise of photography in the academic study of sculpture. The practice of subjecting sculpture to a particular view, however, stretches even further back, at least to neoclassicism. Indeed, the privileging of one view is a compositional strategy in ancient sculpture itself. Yet in contrast to the photographic experience of a statue strictly limited to its “correct” view, the “bad” views, or nonprincipal views, still played a crucial role in the ancient aesthetic experience of sculpture.