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A 
 
 HAND-BOOK 
 
 TO THE 
 
 COURTS OF MODERN SCULPTURE. 
 
 Mbs. JAMESON. 
 
 CRYSTAL PALACE LIBRARY ; 
 
 AND 
 
 BRADBURY & EVANS, 11, BOUVERIE STREET, LONDON. 
 1854. 
 
BRADBURY AM) EVANS, 
 tsifjiEllS TO THE CRYSTAL PALACE COMPANY 
 
 YVHXTEFRIARS. 
 
MODERN SCULPTURE. 
 
 INTRODUCTION. 
 
 The following Catalogue of the works of art assembled in the 
 Courts of Modern Sculpture, being intended for the public at large, 
 has been made as clear and as comprehensive as was possible within 
 the prescribed limits of space and time. If I venture to introduce 
 it by a few prefatory observations, it is not for the purpose of dic¬ 
 tating to those who assume in art the right of private judgment 
 and of deciding to their own contentment what they like, and what 
 they do not ,—but in the first place, to explain the sense in which 
 I have used certain terms, which otherwise might be misunderstood, 
 and secondly with a hope of leading the mind of the observer to 
 certain considerations which may be suggestive of added pleasure, 
 and a more refined and discriminating judgment ; for unless we 
 know what to require, we cannot do justice to the artist who has 
 sought in his own way to meet our requirements. 
 
 We will begin by a definition. 
 
 The word Sculpture (from sculpo , to carve,) signifies whatever is 
 cut or carved into shape. We apply the word technically to all the 
 productions of the plastic or formative arts : that is to say to all 
 imitations of natural forms fashioned out of any solid material, 
 whether they be modelled in clay or wax, cast in metal or gypsum, 
 carved in wood or ivory, hewn in stone or marble. And we dis¬ 
 tinguish the productions of sculpture considered as one of the fine 
 arts under two divisions: in the first we comprise all insulated and 
 complete figures single or grouped. These we call in a general way 
 statues ; they may be standing , or seated , or recumbent. In the 
 second division, we place all figures which are partly raised on a 
 flat plane, which we style in a general way Bas-reliefs. But 
 when we would describe accurately we distinguish between — 
 I. Basso-relievo, Bas-relief, or low-relief, where the figures are 
 
4 
 
 INTRODUCTION. 
 
 slightly projected (as in No. 20).—II. Mezzo-relievo, half-relief, 
 where half the figure appears as if sunk in the block, and half 
 above it (as in No. 226).—III. Alto-relievo, plein-relief, high- 
 relief, where the figure is almost detached from the plane behind— 
 standing out from it, though still not wholly detached from it (as 
 in No. 172). In the mediaeval sculpture, and the modern imitations 
 of it, we find a mixed style, in which all the three degrees of relief 
 are used—the figures in the background being in very flat relief, 
 those in the middle ground in half-relief, and those immediately 
 in front in high-relief (as in No. 109). 
 
 Now it must be evident to those who use their reason in the 
 observation of works of art that Sculpture, dealing with forms in 
 solid material, must be very different from Painting, which describes 
 with lines and colours on a flat surface ; that the aims of each art 
 are distinct ; that each has its capabilities, its limits, and its laws, 
 and that these being founded on natural laws cannot be infringed 
 with impunity. Coleridge defined painting as “a somewhat 
 between a thought and a thing.” Sculpture is a thought and a 
 thing. Painting is not what it seems ; sculpture is a reality : 
 painting produces its effects to the eye by differences and varieties 
 of colour, by gradations of distance, by multiplied figures. Where 
 sculpture pretends to such manifestations (as in some of the 
 mediaeval and modern bas-reliefs) it is apt to wander beyond 
 the legitimate bounds which truth and taste have assigned to it ; 
 and that which constitutes its essential excellence and real 
 character is diminished in proportion as it assumes the powers, 
 and proposes to itself the aims of painting, an art which works 
 with different means, and has a far wider range of imitation and 
 representation than that commanded by the art of sculpture. 
 
 I have begun by this definition of what sculpture is, and what 
 it is not, and have dwelt a little upon the distinction, because the 
 first principle with which the observer must start, is this :—never 
 to confound the laws and the objects of two arts so perfectly 
 distinct as sculpture and painting, but to consider well the kind of 
 pleasure and the kind of representation which he shall require 
 from each. 
 
 One of the first considerations of sculpture is the material. 
 In modern times we use the same materials which were in use in 
 ancient times ; nor does it appear that we have improved on those 
 mechanical processes which ensured completeness, beauty, and 
 excellence of workmanship, though we have some scientific and 
 
INTRODUCTION. 
 
 5 
 
 mechanical inventions which have facilitated imitation and 
 cheapened material ; and with regard to material, we should 
 observe that the management and capabilities of different 
 substances are considerations of great importance ; that figures 
 which look well in one material, do not look well in another ; that 
 metal requires a different treatment from marble, and is fitted for 
 purposes where marble would be misplaced. 
 
 All the specimens of sculpture here (both ancient and modern), 
 are casts made in gypsum (plaster of Paris), and the hard, opaque 
 plaster is so different in effect from the delicate semi-transparent 
 marble, which under the master-hand seems actually to soften into 
 life, that, in judging of some admired works, this difference must 
 be taken into consideration. 
 
 Size is another of the external conditions of sculpture, which 
 must be well considered. Many subjects which are extremely 
 graceful and ornamental, of small size, become repulsive when 
 enlarged. When a figure is rather above nature, we style it 
 heroic ; when much above the natural height, it is colossal. If a 
 statue be half the size of life, or less, it is called a statuette. 
 Some of the antique colossal statues may be diminished into 
 statuettes, retaining their grace, and even their sublimity ; but a 
 subject originally conceived of a small size can seldom be 
 enlarged to colossal dimensions. 
 
 The locality for which a statue is intended is also of great 
 importance ; whether for a church, a temple, a hall, a gallery, a 
 room, a. garden ; whether for a high or a low situation. A statue 
 which is to be placed in the open air, or to enter into an archi¬ 
 tectural composition, or to form part of a sacred monument, or an 
 historical memorial, requires a different treatment from one which 
 is to decorate a room in a palace. The Milo of Puget (No. 117) 
 was placed in a bocage at Versailles ; the Nymph (No. 168) in 
 a public garden; the Angel (No. 67) in a church : all are 
 calculated for height or distance. A central situation in a large 
 space requires that the figure and attitude should display beauties 
 in every point of view. 
 
 The management of bas-relief requires great skill, that neither 
 the figures be too numerous nor the lights too multiplied and 
 broken, for then we lose distinctness. Simplicity therefore is one 
 of the necessary conditions of a fine bas-relief. In modern times, 
 Thorwaldsen and Gibson have perfectly succeeded in the classical 
 bas-relief treatment. No. 229 and No. 26 are examples of 
 exquisite adaptation, in this style. 
 
INTRODUCTION. 
 
 
 The compositions by Geefs from the life of St. Hubert (Ho. 109) 
 should be compared with these, as beautiful examples of a wholly 
 different style—-the rich pictorial treatment of Gothic sculpture—in 
 which the different degrees of relief are blended. 
 
 The foregoing remarks apply to sculpture generally, whatever be 
 the subject or style. We will now turn to more particular 
 criticism. 
 
 When we contemplate a work of sculpture we first require to 
 know what it represents ; we ask what it is that the artist has 
 intended to place before us. Sculpture is much more limited in 
 regard to subject than painting—a consideration we must carefully 
 keep in view; for very frequently a work of sculpture is displeasing, 
 not from any fault in the execution, but because it ought never to 
 have been executed at all, because it represents that which is 
 essentially unfitted for sculptural treatment. Tam o’ Shanter and 
 Meg Merrilies are admirable creations in their way, and well fitted 
 for painting, but we are shocked at the idea of these figures in 
 bronze or marble. 
 
 We should be able, in looking round these courts of modem 
 sculpture, to designate the subject, its appropriate conception and 
 artistic treatment. 
 
 The subject is classical when it is selected from the ancient 
 mythology and poetry. Thus Cupid is a classical subject, whether 
 treated a Vantique with Greek simplicity and consummate purity 
 of taste (as Ho. 23), or with modern sentiment (as in Ho. 122). 
 There are writers who lay it down as a principle that sculpture 
 should be confined strictly to the imitation of Greek art and 
 confined to the same class of subjects, regarding all others as 
 deviations into barbarism. This is a mistake which leads to 
 formality and conventionalism. It is the ultra-conservatism of art. 
 When a sculptor, from native taste, chooses classical subjects for his 
 peculiar walk, he is right to follow out the bent of his own genius, 
 but not to restrain within the same limits the taste and genius of 
 others. On the other hand it is equally a mistake, and a much 
 more vulgar mistake, to imagine that anything sculpture can do, it 
 may do. 
 
 A man whose education and habits of life have never led him 
 to form classical associations in art or in literature, says very 
 naturally, “I do not like your undraped gods and goddesses ; I 
 have no sympathies with them : what are Yenus and Apollo to me ? 
 Why are we ever to be haunted with these symbols of a dead 
 
INTRODUCTION. 
 
 7 
 
 religion ? Nature is not exhausted of her beauty. Life speaks to 
 us through a thousand aspects. Choose me out of these infinite 
 manifestations something I can recognise as truth, something I can 
 feel and understand ! ” 
 
 The educated man, the classical scholar, replies, “ It is well;—let 
 us have truth in art by all means, but what is your truth, my friend, 
 is not mine. A fact taken from the accidents of common life is not 
 a truth of universal import, claiming to be worked out by head and 
 hand with years of labour, fixed before us in enduring marble—in 
 the immutable forms of sculpture. True, the gods of Hellas have 
 paled before a diviner light; ‘the great Pan is dead.’ But we 
 have all some abstract notions of power, beauty, love, joy, song, 
 haunting our minds and illuminating the realities of life ; and if it 
 be the especial province of sculpture to represent these in forms, 
 where shall we find any more perfect and intelligible expression for 
 them than the beautiful impersonations the Greeks have left us? It 
 is not the sea-born Venus, but beauty and love,—it is not the vine- 
 crowned Bacchus, but joy and fertility,—it is not Athena with 
 thoughtful brows beneath her helmet, and segis-guarded bosom, 
 but womanhood armed in chastity and wisdom,—which stand 
 before us ; with these have we not sympathies strong, and deep, 
 and pure ? When will the enchanting myth of Psyche 
 
 ‘ That latest born and loveliest vision far 
 Of all Olympus’ faded hierarchy’— 
 
 ever grow old and out-worn to the fancy ? not while we have 
 souls to love, to suffer, to aspire ! To an English farmer, a plough 
 boy in a smock-frock, guiding his team along the furrow, conveys 
 the idea of agriculture. To the educated fancy all over the world 
 the same idea is conveyed, in a more universal sense, by the 
 benign maternal Ceres, holding her wheat-sheaf. Which is the 
 more beautiful ? Half a century ago the fashion was all in favour 
 of paganism in sculpture ; now the popular feeling runs so against 
 it that it gives rise to the most obvious absurdities. Sculptors who 
 have seized and worked out classical ideas are afraid to give them 
 classical names ; a figure of Orpheus is ‘ A Violin Player a 
 Cupid and Psyche become ‘A Boy with a Butterfly ;’ Apollo, as 
 the Shepherd, is ‘A Boy at a Stile ;’ and instead of the ‘Oread 
 and Dryad fleet,’ or Naiad of the stream, we have ‘ Nymphs 
 preparing to bathe,’ and these without number, in different 
 degrees of drapery. Surely we are in a pitiful condition as to 
 education, if such subterfuges be necessary or acceptable ! ” 
 
8 
 
 INTRODUCTION. 
 
 In modern art a classical subject is not always (or rather, is very 
 rarely) conceived and treated in a purely classical style ; far oftener 
 the imitation of th c antique manner degenerates into the cold or 
 conventional—what the French call “style academique,” “style 
 de routine.” On the other hand, some of our modern artists have 
 infused into the forms of the ancient mythology a sentiment and a 
 significance which we do not find in Greek art—not different, but 
 deeper—(as in No. 82 and No. 219). This new version of some of 
 the lovely Greek myths, when directed by high feeling and a just 
 taste, is capable of more variety than artists are aware of. 
 
 Opposed to classical subjects, we have in modern sculpture sacred 
 subjects ; so we call all those which are suggested by the venerated 
 Scriptures, and it is not without reason that the people delight in 
 such. In these days we should treat religious subjects religiously; 
 an angel should resemble neither a nymph nor a Cupid. There is, 
 however, no necessity, as some appear to think, that Scripture 
 subjects should be reproduced in the early mediaeval style, in the 
 imperfect or stiff forms which belonged to a past and undeveloped 
 state of art, interesting in many ways, not only to the antiquary 
 but to every thinking and religious mind. The Scripture subjects 
 are few, which allow of a figure undraped or half draped, or that 
 display of the beautiful and the noble in the human form which is the 
 province of sculpture. There is, indeed, the figure of Eve for the 
 female form; David as the Shepherd, and the Prodigal Son, for 
 youthful beauty and pathos; and many such will be found here. It 
 is a pity that statues of the Mother of our Lord should be (from 
 unhappy religious dissensions) repudiated by so many Christians, 
 for she is a beautiful sculptural subject. There is a Pietk here, 
 by Rietschel (196), which, for tenderness and religious sentiment, 
 will strike every one, and it should be compared with the earlier 
 treatment, as that of Michael Angelo in the Renaissance Courts, 
 and those of more ancient date placed in the Mediaeval Courts. 
 
 But beyond the limits of classical art and sacred art, modern 
 sculpture has still a wide range. The whole range of modern 
 poetry and history is around us to select from. Some artists and 
 critics are of opinion, that, when a subject is chosen from a modern 
 poem or commemorates a modern personage or a modern event, it 
 must, nevertheless, be expressed in the classical manner, and even 
 draped in the costume of the Greek or Roman classical times. 
 This appears to me a mistake: for we see by many examples here 
 that such a subject may be treated within the just limits of 
 
INTRODUCTION. 
 
 9 
 
 sculpture, yet conceived with a feeling wholly distinct from that 
 which we recognise in Greek art. In the following catalogue I 
 have styled those subjects poetical —the word is not well chosen, 
 perhaps, for what is art of any kind if not poetical ?—but I could 
 find no other word to express those creations suggested by modem 
 associations and poetically but not classically conceived. Dante’s 
 Beatrice (No. 31), Milton’s Sabrina (No. 51), Spenser’s Una 
 (No. 5), are examples of poetic subjects which are neither classical 
 nor sacred ; they belong to romantic , in contradistinction to classical 
 art. The taste of the sculptor and his knowledge of the capabilities 
 of his art are shown in the choice of such modern subjects as 
 are susceptible of chaste and elegant sculptural treatment—for all 
 are not so. 
 
 There are many subjects here which cannot be designated 
 as classical, or sacred, or poetical. They do not express an 
 idea, they rather aspire to represent in a more dramatic way, and 
 often with the assistance of accessories, certain characters, actions, 
 scenes; such compositions I have termed picturesque because they 
 merge on the domain of painting; No. 94 and 46 are eminent 
 examples. The taste of the present day runs in favour of picturesque 
 and romantic subjects in sculpture, and of classical and sacred 
 subjects treated with that picturesque sentiment (or sentimentality), 
 which we owe to the Renaissance school. 
 
 Another class of subjects we may style monumental and his¬ 
 torical; such are portrait statues, memorials of real events, 
 sometimes treated with exact sculptural taste and simplicity, 
 sometimes with all the pretensions of the picturesque. We have 
 here striking examples of both, as in No. 29 and No. 92. 
 
 Strictly speaking, modern sculpture would comprise all that 
 is not antique sculpture. But for the purposes of critical 
 discrimination, we divide the history of sculpture into five 
 periods :— 
 
 1. That which preceded the highest development of Greek art, 
 comprising the Egyptian, Ninevite, and Lycian remains. 
 
 2. What we call the “Antique,” comprehending all the sculpture 
 of the Greeks and Romans, down to the complete subversion of 
 the Roman empire ; that is from about 700 years before Christ, 
 to the sixth century of our era. 
 
 3. Mediaeval sculpture, comprehending all those productions of 
 the art, which date from the sixth to the twelfth century. During 
 this time we find sculpture chiefly in alliance with architecture, 
 
10 
 
 INTRODUCTION. 
 
 and devoted almost entirely to religions purposes. The examples 
 which remain to us of this period we call Byzantine and Gothic : 
 they are often curious for their significance, and interesting from 
 their sentiment, but as far as knowledge of art, or elegance of form 
 is concerned, they must be pronounced crude. 
 
 4. The period which we style the Renaissance (revival) compre¬ 
 hends all the productions of sculpture from the revival of literature 
 and art in the fourteenth to the end of the seventeenth century. In 
 the beginning of this time the art was struggling between a newly 
 awakened admiration for the beautiful remains of antiquity, and 
 an ignorance of the principles on which they were produced. 
 There was a leaning to the picturesque and Gothic in style, 
 redeemed by exquisite grace and elevated feeling, and often by an 
 elaborate elegance of execution. But by degrees, as the real spirit 
 of antique art was misapprehended, and the imitation of nature 
 was neglected, and even contemned, the taste became more and 
 more mistaken and depraved, and reached its utmost point of 
 caprice and degradation in the works of Bernini and his followers, 
 towards the close of the seventeenth century. 
 
 The observer will find in the various Courts of Architecture and 
 Sculpture,—Assyrian, Egyptian, Greek and Roman, Byzantine, 
 Mediaeval, Renaissance—specimens of all the periods here men¬ 
 tioned, from the human-headed bulls of Nineveh, down to the 
 “Nymph of Fontainebleau.” 
 
 5. Modern sculpture (to which we are limited in this Hand¬ 
 book), dates from the close of the seventeenth century to the 
 present time ; but till the middle of the eighteenth century, 
 and even later, the influence of the late Renaissance school, more 
 or less modified by national or individual influences, reigned 
 paramount. A style at once pompous and fantastic, that of 
 Louis-Quatorze, pervaded the arts of Europe. In the beginning 
 of the last century there were no schools or ateliers of sculpture 
 but the French. The most celebrated was that of Pajou. Be¬ 
 tween 1700 and 1750 we find, in England, Rysbracli (a Fleming) 
 and Roubilliac (a Frenchman), in possession of all the patronage 
 of the country. In France, Pigalle, Falconnet, Lemoyne, and 
 Slodsz, carried as far as possible what we call the “Louis Quinze” 
 style. In Italy they had Corradini, who frittered away his 
 undoubted talent in laborious frivolities. 
 
 Such was the state of things, when, in the middle of the last 
 century, and within a year or two of each other, two men were 
 bom, destined, though each in a different way, to exercise an incal- 
 
INTRODUCTION. 
 
 11 
 
 culable influence on modern sculpture. Their reception had been 
 prepared by the critical essays of Winckelmann, the founder 
 of a new and a purer code of taste and criticism, afterwards 
 carried out by Lessing and Goethe. Canova was born in 1752, 
 and Flaxman in 1755. The first, a Venetian by birth, seems 
 to have inherited that love of genial nature which distinguished 
 the Venetian painters: hampered by the Bernini school in 
 which he had been educated, and awakened to the comprehension 
 of the antique art, we find him all his life struggling under 
 these combined—sometimes opposite—influences, but never wholly 
 emancipated into originality or truth. It is not just to Canova, 
 to consider his faults in the light they appear to us now; they 
 are, in a mitigated form, the faults which belonged to his time : 
 compared with those who have come after him, his mistakes and 
 aberrations of taste are apparent; compared with those who preceded 
 him (such men as Corradini, Pigalle, Lemoyne), his taste was pure 
 and his aims were noble. Canova was as generally admired in 
 his time as Bernini had been in the preceding age, and exercised as 
 wide a sway. But since his death his influence has declined; and 
 in proportion as purer and more elevated principles of art have 
 become better understood, his tendency to the picturesque, the 
 sentimental, and the meretricious has diminished the value of his 
 works. 
 
 Far different has it been with our English Flaxman : he did not 
 in his life-time rule the world of fashion nor of art; his works in 
 marble are not numerous, for the patronage he received was in 
 no respect commensurate with his merit; but he had early learned 
 to understand and feel the principles of Greek sculpture, and 
 his taste had never been vitiated by the florid inanities of the 
 French school. His published outline compositions from the 
 works of Homer, iEschylus, and Dante, being spread all over 
 Europe, and more especially in Germany, had a lasting effect in 
 forming a new generation of artists. 
 
 Thorwaldsen was the next great name: arriving at Rome, an 
 obscure young man, twenty years younger than Canova, and at 
 a time when the great Italian artist had reached the highest 
 pinnacle of his celebrity, he was never misled by his example, 
 nor subjugated by his influence ; his was an entirely different 
 organisation ; his taste was purer ; he held himself apart, not 
 emulating Canova, but openly, and with a quiet power contending 
 with him for the prize of excellence. It was remarked that whatever 
 statue or group, a Vantique, proceeded from the studio of Canova, 
 
12 
 
 INTRODUCTION. 
 
 Tliorwaldsen soon after produced his version of the same subject, 
 in a spirit altogether different, as if in defiance ; we can compare 
 here the Yenus of Canova (No. 131) and the Yenus of Thorwaldsen 
 (No. 217) ; and it will be instructive to do so, to mark how the 
 divinity of the latter transcends the fine lady graces of the former. 
 The rival groups of “The Graces” should also be compared. 
 Some of the pupils of Canova have avoided his defects (affectation 
 and prettiness), and carried his distinctive excellencies (beauty of 
 workmanship and classical elegance), far higher than he ever did, 
 but no artist formed in the school of Thorwaldsen has ever sur¬ 
 passed or equalled him in the inventive poetry of his art: he 
 excelled particularly in bas-relief, in which no modern sculptor 
 but Gibson can be compared with him; there are many beautiful 
 examples from both in this collection. 
 
 In looking over the Courts of Modern Sculpture, we cannot but 
 be struck by some national characteristics. In the English school 
 of art, with some brilliant exceptions, the general faults are 
 negative,—a want of largeness of style, a poverty of invention, 
 a want of fire and vigour in conception, and of elegance in 
 execution. In the best works there is a purity and depth of 
 feeling, united to great elegance of execution, of which we have 
 reason to be proud. 
 
 In the French school we are struck by the presence of all those 
 merits in which we are most deficient, but there is a tendency to 
 the capricious, the sensual, the meretricious, from which our 
 own sculpture is wholly free. I remember in the Great Exhibition 
 of 1851, being struck, as all were struck, by the wonderful 
 elegance, fancy, and invention displayed in the French sculpture, 
 including the ornamental bronzes—by the careful design and 
 finished execution of the most minute, as well as the larger 
 objects. But we were also struck by the predominance of the 
 voluptuous and the ferocious sentiment in some of their finest 
 designs—the humane feelings, the moral sympathies, outraged 
 on every hand. The appetite for sensation is as obvious in French 
 art, as in their drama and literature ; all react on each other. 
 
 In the German school we are struck by power and poetical 
 feeling, and by a largeness of style, but also frequently by exagge¬ 
 ration and the want of grace and repose. 
 
 In Germany there are two schools of art of great celebrity. The 
 Berlin school, at the head of which is Bauch, has taken a direction 
 towards natural and individual character, excelling in busts, portrait- 
 
INTRODUCTION. 
 
 13 
 
 statues, and what I have called the monumental and historical style, 
 though not confined to these. The Munich school, which owns 
 Schwanthaler as its chief, aims more at ideal representation and 
 mythologic and poetic subjects. 
 
 In the best Italian examples there is much fire and poetry 
 of conception and delicacy in the treatment ; the faults most 
 predominant in the Florentine and Roman schools are feebleness 
 and mannerism. It will be remarked that the Milan sculptors, 
 who rank high in point of originality and talent, have taken a 
 decided turn to the romantic and picturesque style of art. 
 
 In the English collection we have to regret the absence of any 
 works of Flaxman, Chantrey, Banks, Foley, and some others. 
 Among the French sculptors, we miss Barye and Henri de Triqueti. 
 Among the Italian names we do not find that of Tenerani. But 
 we trust to see all these represented here in due time. 
 
 It has been necessary to make some critical remarks: they have 
 been made reluctantly, but most conscientiously. It was the 
 request of the Directors that this Catalogue should serve as a guide 
 in some respects to the public taste. Therefore it is that the few 
 criticisms which have been made, apply to the works of sculptors of 
 eminent talent and established fame—for only criticism illustrated by 
 such examples can be just, merciful, or useful—and it is ventured 
 here with a deep feeling of responsibility, and of the true interests of 
 art and artists. In none of the fine arts does such an amount of 
 ignorance prevail as in sculpture. It is a universal complaint with 
 sculptors, that they are forced to deviate from their own convic¬ 
 tions of the true and the beautiful, to please the unrefined taste of 
 patrons. Let those who wish to learn, come here : such materials 
 for comparison and delightful contemplation were never before 
 brought together to educate the mind and the eye of the public. 
 
 Several works of Sculpture have arrived too late for insertion 
 in this edition : others only just in time to be named, but not 
 described or illustrated. All these will hereafter be noticed at 
 length. 
 
NOTICE. 
 
 The works of eacli sculptor will generally be found grouped 
 together, as nearly as has been possible. 
 
 The principal works of Gibson, and of those artists of the 
 English school who have studied or resided at Rome, including 
 Wyatt, Macdonald, Crawford, Spence, and Theed, will be found 
 arranged round the western end of the Great Central Transept. 
 
 The works of Canova and of some deceased French sculptors, 
 such as Allegrain, Julien, Houdon, and Puget, are placed round 
 the eastern end of the Great Transept. 
 
 The works of Bacon, Baily, and Lough, are placed at the 
 south end of the Nave. In this part of the Nave, and nearer 
 the Great Transept, are placed various works of the English and 
 German schools : the English, on the east or garden-side ; the 
 German, on the west, or road-side. 
 
 On the right of the Great Transept, as we enter from the west, 
 is the court of German and English Sculpture, where, besides 
 the colossal Franconia, and . the head of Bavaria, will be 
 found a collection of Bas-reliefs by Thorwaldsen, Schwanthaler, 
 Gibson, <fcc. 
 
 Opposite to this court, on the Garden-side, is the Court of 
 Italian and French Sculpture, including the works of Monti^ 
 Rosetti, Dantan, Fraikin, Pradier, &c. 
 
 NOTE. 
 
 The Modern Sculptures are numbered with black figures. 
 
 The Busts in the Portrait Gallery with red figures. 
 
 The Sculptures in the Greek and Roman Courts with blue figures; 
 
ENGLISH SCULPTURE 
 
 The names of the artists are arranged alphabetically. 
 
 John Bacon was born in Southwark, 1740, of poor parents. He 
 was apprenticed to a potter, and learned to model in clay, birds and 
 beasts, and little figures, suck as used to be sold for ornaments and 
 playthings. From this humble occupation he rose by genius 
 and industry to eminence and to riches. He received, in 1769, the 
 First Prize for sculpture, and produced the next year a statue of Mars, 
 carefully modelled and correct; and being the best thing which had 
 been produced by a native English artist, it gained him great 
 celebrity. But Bacon was not by nature or education formed to 
 succeed in the classical or ideal. His portrait statues are far 
 superior, particularly those of Hr. Johnson, and Howard the 
 Philanthropist, now in St. Paul’s. Bacon was patronised by George 
 III. Besides being an eminent sculptor, he was an eloquent 
 Methodist preacher. He died in 1799. 
 
 1. WILLIAM PITT, “ THE GREAT LORD CHATHAM.” 
 
 Statue. Above life size. 
 
 The monument to Lord Chatham, in Westminster Abbey, “represents 
 him in the attitude of an orator, extending the sway of Britannia, 
 by means of Prudence and Fortitude, oVer Earth and Ocean.” The 
 figure of Chatham is really fine, and the compliment which Cowper 
 paid to it 
 
 ‘ 1 Bacon there 
 
 Gives Chatham’s eloquence to marble lips’* 
 
 not wholly misplaced or undeserved. The great statesman and 
 orator seems in the act of addressing the House of Lords : the 
 allegorical ladies who form part of the monument, and spoil it by 
 affectation and mannerism, are here omitted. This is not a cast 
 from the marble, but the original model from which the marblei 
 was worked, which adds to its value. Monumental statue, in 
 the picturesque style. 
 
 t L DR. JOHNSON. Statue. Heroic size. 
 
 The original model for his monument in St. Paul’s. Portrait statue, 
 classically treated. 
 
16 
 
 MODERN ENGLISH SCULPTURE. 
 
 2*. THE ELEMENTS. Four oval bas-reliefs. 
 
 A. Earth. B. Air. C. Fire. D. Water. In a florid ornamental style. 
 
 Edward Hodges Baily, R.A., F.R.S. An artist of distinguished 
 genius and merited celebrity. He was born at Bristol in 1788. He 
 studied under Flaxman, and has much of his line taste and manner 
 both in ideal and monumental sculpture. One of his best known 
 works is the “Eve contemplating herself in a Fountain,” of which 
 there are many copies and repetitions. 
 
 3. A NYMPH PREPARING- TO BATHE. Statue. Life size. 
 
 She is leaning, half undraped, against the trunk of a tree ; a wreath of 
 flowers, which she has just taken from her hair, hangs over her right 
 arm ; in the left hand she holds her loosened girdle. Classical, in a 
 fine large style of treatment. 
 
 4. THE TIRED HUNTER. Statue. Life size. 
 
 Leaning in an easy attitude of repose against the trunk of a tree, and 
 looking down at his dog resting at his feet; a hunting-horn is on 
 the left. The head has the air of a portrait. Classically and finely 
 treated. These two companion statues were executed in marble for 
 Joseph Neeld, Esq., M.P., and gained a medal in the Great Exhibition 
 of 1851. 
 
 3 A. SLEEPING NYMPH. Statue. Life size. 
 
 Executed in marble for Lord Monteagle. 
 
 3 d. THE GRACES. Group. Life size. 
 
 Seated figures ; an original version of the subject. See No. 125. 
 
 3 c. APOLLO DISCHARGING HIS BOW. Statue. 
 
 An early work of the artist. 
 
 4 a. MATERNAL AFFECTION. Group. Life size. 
 Executed in marble for Joseph Neeld, Esq. 
 
 4 e. EYE. Statue. Life size. 
 
 Gazing at herself in the fountain. The original marble is in the 
 Philosophic Institute at Bristol. 
 
BAILY—BELL. 
 
 17 
 
 4 c. EYE LISTENING. Statue. Life size. 
 
 Executed in marble for Joseph Neeld, Esq., M.P. 
 
 John Bell, born at Yarmouth, in Norfolk, studied in the Royal 
 Academy, but never in Italy, nor under any master. Bell has 
 distinguished himself by his models for art-manufacture, and his 
 designs for industrial and ornamental art. By him are four of the 
 Colossal Statues on the Terrace. That of California being 
 particularly fine and animated. All the works of this sculptor display 
 great talent, with a leaning to the ornamental and picturesque in 
 style. 
 
 5. UNA AND THE LION. Group. Small life size. 
 
 The Una of Spenser’s “Faerie Queene,” is the personification of Truth : 
 she is accompanied and guarded by the lion, the symbol of generous 
 Force or Strength. The antique conception of Truth is always 
 unveiled (for the same reason that the Graces are unveiled), and 
 here she bears the lily, symbol of purity. It has been rather 
 ignorantly objected to this beautiful composition, that Spenser’s 
 Una is mounted on a white ass, the emblem of humility, and that 
 the lion attends upon her ; but the ass is not a statuesque subject, 
 and the artist has shown equal taste and wisdom in generalising 
 the idea, and treating it with abstract fitness and grace. A criti¬ 
 cism more reasonable points to the dove and the garland on the 
 lion’s back, superfluous as accessories, and breaking the unity and 
 simplicity of the lines. Small copies of this beautiful group in 
 Parian, have rendered it familiar and popular. Poetical style, 
 blending the sculptural and picturesque. 
 
 5 A. DOROTHEA. Statue. Life size. 
 
 She is seated by a fountain, in the disguise of a page. The subject is 
 from Don Quixote. The original marble is in the possession of the 
 Marquess of Lansdowne. 
 
 6. THE EAGLE SLAYER. Statue. Larger than life. 
 
 A hunter aims an arrow at an eagle in its flight: he bends his bow, 
 looking upwards. The lamb, which has been torn from the flock, 
 lies at his feet. As a display of form, energetic and animated. Cast 
 in bronze, and exhibited in 1851. 
 
 6 A. JANE SHORE. Statue. Life size. 
 
 6 b. THE MAID OE SARAGOSSA. Statue. Life size. 
 
 o 
 
18 
 
 MODERN ENGLISH SCULPTURE. 
 
 7. ANDROMEDA. Statue. Life size. 
 
 For the story of Andromeda, see No. 47. The original statne, which 
 was exhibited in bronze in the Great Exhibition of 1851, belongs 
 to her Majesty, and adorns a fountain at Osborne. Classical style. 
 
 8. THE INFANT HERCULES. Statue. Life size. 
 
 In the act of strangling the serpent which had attacked him in his 
 cradle. 
 
 8 a. THE BROTHER AND SISTER. Group. 
 
 9. SHAKESPEARE. 
 
 Standing figure, in an easy attitude ; indicating repose and reflection. A 
 monumental-portrait statue. 
 
 Joseph Bohomi. The only pupil of Nollekens. He is of English 
 birth, though of Italian parentage. Studied in the Royal Academy ; 
 afterwards went to Rome, and being seized with an enthusiasm for 
 Egyptian antiquities, betook himself to Egypt, and spent eleven or 
 twelve years among the ruins of Thebes. His intimate acquaintance 
 with Egyptian art has been turned to account in the Egyptian Courts, 
 where most of the sculpture and modelling has been executed under 
 his direction, and in great part by his own hand. In the Portrait 
 Gallery are two busts modelled by Bonomi; those of Northcote, the 
 painter, and Prince Hoare. 
 
 James Ceawfoee, an American sculptor of distinguished merit and 
 reputation, now settled at Rome ; he was born at New York in 1814. 
 His love of art induced him at an early age to place himself under the 
 tuition of a carver in wood ; in 1834 he went to Italy and studied in 
 the atelier of Thorwaldsen; and in 1839 produced the first statue 
 which introduced him to notice, the Orpheus. He has now a deserved 
 celebrity in his own country; his works are charming for elegance 
 of conception and finished execution. I should say from what I 
 remember of his works at Rome, that the productions exhibited 
 here hardly do justice to his genius and reputation. 
 
 10. FLORA. Statue. Life size. 
 
 There is a great deal of careful and elegant workmanship in this statue ; 
 but as a sculptural conception it is open to criticism on several 
 grounds. The attempt to represent the figure unsustained is not 
 happy, for the drapery has the appearance of being stuck against 
 
CRAWFORD—GIBSON. 
 
 19 
 
 something, we know not what; and the perpetual repetition of the 
 semicircular sail-like folds is rather monotonous. The rapidity of 
 movement, and the action of the air, which is supposed to produce 
 this effect, would have also deranged the hair, which should float hack. 
 The face is too grave for Flora, and does not harmonise with the 
 sentiment of the figure ; and finally the flowers, though beautifully 
 executed, are too heavy, and as accessories, too much a feature in the 
 whole. It is a classical subject, treated rather too much in the 
 Bernini style. 
 
 11. THE DANCERS. Companion Statues. Life size. 
 
 A. A little girl, dancing ; she holds up her drapery with both hands, with 
 a simple childish action, while she trips lightly forward, b. A little 
 boy standing with a tambourine, which he has just broken. These 
 two figures form a pair, and should not be disunited ; they are in 
 very pretty contrast, as expressing gay and sorrowful childhood. 
 Picturesque style. 
 
 12, SMALL MODEL of a monument proposed to be erected to 
 
 Washington, in the city which bears his name. 
 
 12*. VENUS. Statue. Life size. 
 
 A Dove at her feet; an amateur production presented by the artist, W. 
 Fielder, Esq. 
 
 John Grin son, R.A. If we consider the length of time he has 
 been before the public, and the number and beauty of his works, 
 Gibson may now take rank as the first of our English sculptors. 
 He was born at Conway, in North Wales, in 1*791, the son of a 
 landscape gardener. At a very early age he showed a disposition to 
 imitative art, in which he was encouraged by an intelligent mother. 
 When the family, in poor circumstances, removed to Liverpool, the 
 boy was constantly observing and studying the prints in the shop 
 windows, and then trying at home to imitate or reproduce what he 
 admired. He was first bound apprentice to a cabinet maker (where 
 he learned to carve in wood), then to an ornamental worker in marble, 
 where he learned to model and use the chisel. He found an early 
 friend and patron in Roscoe, the historian, by whose advice he 
 was led to study such remains of Greek art as he could find in 
 engravings or copies. At length his friends in Liverpool, struck 
 by his talents, and interested by his amiable and modest character, 
 entered into a subscription to send him to Rome. Furnished 
 with a sum of money sufficient to maintain him for two years, 
 and a letter to Canova, he set off for Rome in 1817. Canova 
 received him with great kindness, assisted him generously; and 
 
 c 2 
 
20 
 
 MODERN ENGLISH SCULPTURE. 
 
 after studying with him for three or four years, Gibson set up 
 for himself in 1821. From that time the history of his life would 
 he the enumeration of his works. He has constantly resided in 
 Home, where he has never been without employment. His first 
 patron was the Duke of Devonshire, for whom he executed a 
 group of Mars and Cupid; and his second, Sir George Beaumont, 
 for whom he executed Psyche and the Zephyrs. Many of his 
 beautiful works will be found here, and the remarks which will 
 be made on them in due order, will assist the observer to an 
 appreciation of his genius. A very noble and just tribute to this 
 great artist, may be found in the dedication to Bulwer’s “ Zanoiii.” 
 We may refer to it for the character of the man as well as the sculptor 
 —the man whose noble ambition has never been depraved by the 
 appetite for wealth or the appetite for praise;—the sculptor whose love 
 of Grecian art has never betrayed him into servility or plagiarism. 
 For a bust of Gibson, see Gallery of Portraits , 400. 
 
 13. MENUS YINCITRICE. Statue. Life size. 
 
 This is a version of the Greek subject. She holds the apple. (See No. 
 
 132, and No. 217.) 
 
 14. FLORA. Statue. Small life size. 
 
 Half-draped, crowned with roses, and stepping forward with a rose in 
 her hand. Classical. 
 
 15. CUPID DISGUISED AS A SHEPHERD-BOY. Statue. 
 
 Life size. 
 
 Charming for its elegance, archness, and simplicity. The original marble 
 was executed for the hereditary Grand Duke of Russia ; again for 
 the late Sir Robert Peel; and it has since been repeated by the artist 
 at least seven times. Classical, with a touch of modern sentiment. 
 
 16. A WOUNDED AMAZON. Statue. Larger than life. 
 
 The Amazons were a race of warlike women, who are said to have lived 
 in the neighbourhood of Mount Caucasus in Asia Minor, and 
 admitted no men into their society ; when threatened or oppressed, 
 they defended themselves valiantly, and even invaded in their turn - 
 the nations around them, and were often victorious. They were 
 governed by a queen, and founded some of the most famous cities 
 of Asia Minor ; among others, Smyrna and Ephesus. The Amazons 
 figure conspicuously in Greek poetry and art. They are always 
 represented with the Phrygian bonnet, proper to the inhabitants 
 of Asia. Minor, and the short tunic. There is a beautiful antique 
 statue of a wounded and dying Amazon in the collection of Lord 
 Lansdowne. This before us is a different version—the wound is 
 not mortal. The idea of the attitude was taken from nature. 
 
GIBSON. 
 
 21 
 
 There is an Amazon in the Court of Greek Sculpture, which the 
 observer will do well to compare with this. Classical style, with 
 great originality, simplicity, and beauty in the conception. 
 
 17. NARCISSUS. Statue. Small life size. 
 
 The beautiful Thespian youth, who fell in love with the reflection of his 
 own form in a fountain, fancying it- the nymph of the stream. 
 He is here represented as seated, and bending over the liquid mirror 
 in contemplation of himself. Classical. 
 
 18. AURORA. Statue. Life size. 
 
 Eos, the Goddess of the Dawn, is here represented as the Dispenser of 
 Dew, winged, as is usual in Greek art, and crowned with the morning 
 star ; she bears a vase in her right hand, and another vase is grace¬ 
 fully sustained by the left, and thus she steps forward as just risen 
 from the waves which are at her feet. The original marble was 
 executed for Mr. Henry Sandbach, who married a grand-daughter 
 of Roscoe. 
 
 19. YENUS AND CUPID. Group. Life size. 
 
 Venus is half kneeling on the ground; Love, standing, fondly caresses 
 his mother. Classical. 
 
 20. THE HUNTER. Statue. Life size. 
 
 This fine statue represents a young Greek hunter restraining his dog in a 
 leash. The original marble, executed for the Earl of Yarborough, 
 was in the Great Exhibition of 1851. Nude figure ; classical style. 
 
 “ So stands the youthful hunter, marble life ; 
 
 In classic beauty true and true to nature : 
 
 He like the conqueror of the Python looks 
 Beyond himself, on to his victory, 
 
 Not won, like the bright god’s, but yet to come, 
 
 And to his eye approaching. At his feet 
 See, eager for the chase with muscle strained 
 Against the arm that curbs him, the keen hound 
 In sight of prey, arrested as he springs ! ” 
 
 Mrs. Henry Sandbach. 
 
 21. PSl r CHE BORNE BY THE ZEPHl r RS. Group. 
 
 When young Psyche was exposed on a mountain to be devoured, as she 
 supposed, by some evil demon, the Zephyrs, by command of Cupid, 
 lift her up and bear her from the precipice, down into the Valley 
 of Bliss ; she, with a soft, innocent, half childish fear, trusts herself 
 to their sustaining arms. This beautiful airy group was an early 
 work of the artist, and the first that brought him into notice ; it 
 was modelled in the year 1821, and first executed in marble for 
 Sir George Beaumont; it has since been repeated for the Hereditary 
 Grand Duke of Russia, and Prince Torlonia, the Roman banker. 
 Classical subject; poetical and original in treatment. 
 
22 
 
 MODERN ENGLISH SCULPTURE. 
 
 22. IIYLAS AND THE NYMPHS. Group. Life size. 
 
 Hylas was a beautiful youth, who being sent by Hercules to fetch water 
 from a fountain, so attracted the admiration of the Naiads (the 
 nymphs of the stream), that they seized him, drew him down to the 
 depths below, and he was never seen more. The original marble is 
 in the Yernon Gallery. Classical style. 
 
 23. CUPID WITH A BUTTERFLY". Statue. Life size. 
 
 Cupid standing, holds a butterfly in one hand, and is in act to draw an 
 arrow from his quiver, with which to transfix it. This subject may 
 have been suggested by the myth of Psyche, whose emblem was 
 the butterfly ; but the statue properly represents Eros—divine love, 
 and the butterfly is here the spirit, the human soul. The original 
 marble was executed for Lord Selsea, and duplicates are in 
 possession of Mr. Richard Yates and Mr. Holford. The artist 
 himself considers this eminently beautiful statue as his finest work. 
 Classical style, recalling the purest antique in the easy grace of the 
 attitude, and the exquisite modelling of the forms. 
 
 24. CUPID AND PSYCHE. Bas-relief. 
 
 Psyche, reclining on a couch, while Cupid seated at her side, sustains her 
 in a tender attitude. He is supposed to be unseen by her, and from 
 the soft melancholy in her face, she appears to complain that he 
 will not reveal himself. The original marble was executed for 
 the Queen. Classical style. 
 
 25. YENUS AND CUPID. Bas-relief. 
 
 The mother-goddess is seated, and Love, climbing on her knee, is caressing 
 her. Classical style. 
 
 26. THE HOURS LEAD FORTH THE HORSES OF THE 
 
 SUN. Bas-relief. 
 
 According to the beautiful Greek myth, the Hours (Horae) were three 
 sisters, Olympian divinities, daughters and ministers of Zeus; they 
 presided over the seasons ; it was their duty to guard the gates 
 of Olympus, and to harness the divine horses to the chariot of 
 Helios, (the sun) and to attend him in his course. This elegant 
 group, which seems to float through aether, was executed in marble 
 for Lord Fitzwilliam. Classical style. 
 
 27. PHAETON. Bas-relief. (The companion to the above). 
 
 Phaeton, the son of Helios (Phoebus or Apollo) was so presumptuous 
 as to request his father to allow him to drive the Chariot of the 
 Sun across the heavens for one day. The god, having bound him¬ 
 self by an oath, was obliged to yield. The youth, too weak to 
 guide the celestial coursers, had nearly set the earth on fire, when 
 Zeus struck him down with his thunderbolt, and he fell from the 
 skies into the river Eridanus. The story, told at full length by Ovid, 
 
GIBSON—HANCOCK. 
 
 23 
 
 lias always been considered symbolical of rash ambition, and is a 
 frequent subject of art. 
 
 “Meanwhile the restless horses neighed aloud, 
 
 Breathing out fire and pawing where they stood, 
 
 They spring together out, and swiftly bear 
 
 Th’ amazed youth, through clouds and yielding air. 
 
 With winged speed outstrip the eastern wind, 
 
 And leave the breezes of the morn behind.” 
 
 28. JOCASTA AND HER SONS. Bas-relief, 
 
 Eteocles, the son of CEdipus, having obtained possession of the throne 
 of Thebes, deprived his brother Polynices of his just share of the 
 kingdom, who, thereupon, fled, and, obtaining assistance from 
 Argos, came up against Thebes with a large army. Jocasta, the 
 mother of the two princes, with great difficulty obtained a truce 
 and a meeting, and tried to reconcile her sons, but, from the violent 
 and vengeful nature of Eteocles, failed in her endeavours. The two 
 brothers afterwards slew each other in single combat. The scene 
 which is taken from Euripides, is represented with true classical 
 grace and simplicity. 
 
 29. WILLIAM HUSKISSON. Statue, Life size. 
 
 This statue of the great and lamented statesman who first opened the 
 way to “free trade,” was executed by Gibson, in 1847, and pre¬ 
 sented to the city of Liverpool, in bronze, and to the London Royal 
 Exchange, in marble, by Mrs. Huskisson, the widow of the states¬ 
 man. A portrait statue, in the classical style. 
 
 30. GRAZIA. (The Roman Model, a Captjan Girl). Bust. 
 
 This is the head of an Italian woman, a native of Capua, whose extra¬ 
 ordinary and peculiar style of beauty, rendered her for many years 
 a favourite model for the artists at Rome, particularly in those sub¬ 
 jects which required a proud and stern expression ; the features have 
 all that regularity and ideal grandeur which we see in the Roman 
 goddesses. The neck and shoulders are not in harmony with the 
 head, and appear to belong to another woman of a different character. 
 
 John Hancock was born at Eulhain; he has pursued his art in 
 London, has never visited Italy, and has studied under no master. 
 His productions are distinguished by grace and originality of 
 treatment. 
 
 31. BEATRICE. Statue. Small life size. 
 
 Beatrice Portinari, daughter of a noble Florentine, the young girl with 
 whom Dante was in love in his early youth, and whom he has 
 immortalised in his great poem, by making her the personification 
 
24 
 
 MODERN ENGLISH SCULPTURE. 
 
 of beauty, wisdom, and piety, and the presiding genius who at 
 length conducts him to Paradise. The conception of the figure as she 
 stands now before us, is taken from a passage in the Purgatorio, 
 (canto xxx.) ; Dante meets on the other side of Lethe, an allegorical 
 procession representing the triumph of Faith, closed by the appear¬ 
 ance of Beatrice ; he throws himself on his knees before her in tears 
 and trembling ; she reveals herself to him, reproving him gently for 
 his past errors. Her speech begins with the line happily chosen 
 as the inscription on the pedestal,— 
 
 ‘ ‘ Guardami ben ; io son , io son , Beatrice ! ” 
 
 Look on me well; I am—I am Beatrice ! 
 
 But the sculptor has with a true feeling and judgment in his art, 
 generalised the idea ; so that this statue does not so much represent 
 a particular moment or action, as it expresses a conception of 
 character. The original model was in the Great Exhibition of 1851, 
 and has since been executed in marble for Miss Burdett Coutts. 
 
 Two small bas-reliefs —the first representing— 
 
 32. CHRIST’S ENTRY INTO JERUSALEM. 
 
 The second— 
 
 33. THE PROCESSION TO CALYARY. 
 
 Exhibited in 1849, and executed in bronze for the Art Union of 
 London. 
 
 T. E. Jones. 
 
 33*. CHILDREN WITH A PONY AND A HOUND: Small 
 
 Group. 
 
 John Lawloe, born in Dublin, and studied under Smith, an Irish 
 sculptor of some reputation. He has never been in Italy, and carries 
 on his profession in London. 
 
 34. THE EMIGRANT. Statue. Small life size. 
 
 A young girl, leaning against part of a mast, with rope and pulley, 
 (which express the ship) seems to gaze with a melancholy air towards 
 the receding shore. This figure, which belongs to the romantic style 
 of sculpture, will speak home to many hearts at this time. 
 
 35. TWO BOYS WRESTLING. Group. 
 
 The two boys are contending for a bird caught in a snare and lying at 
 their feet; the sentiment appears to be, that one boy wishes to set 
 the bird free, and the other to keep it or kill it, which is discriminated 
 by the expression in the two faces. Picturesque treatment. 
 
LAWLOR—LEGREW. 
 
 25 
 
 36. A BATHING NYMPH. Statue. Small life size. 
 
 She is seated, undraped, on the edge of a fountain. The model of this 
 elegant figure gained a prize medal in the Great Exhibition of 
 1851 ; but it remains in the artist’s studio, and has not yet been 
 executed in marble. Classical style. 
 
 James Legeew, born at Caterham, in Surrey; a pupil of Sir 
 
 Francis Chantrey. 
 
 37. SAMSON. Colossal Statue. 
 
 He stands, in the act of bursting his bonds. This statue is intended 
 as a model of the athletic form in violent exertion. It is a fault that 
 while the size and proportions suppose height and distance, the 
 attitude is so contrived as almost to prevent the head and features 
 from being seen. Exhibited in 1843. Sacred subject, treated in the 
 classical heroic style. 
 
 38. MUSIDORA. Statue. Life size. 
 
 Preparing to bathe, she looks up alarmed and listening. The subject is 
 from a well-known passage in “Thomson’s Seasons.” Exhibited 
 in 1850. 
 
 39. MURDER OF THE INNOCENTS. Group. Life size. 
 
 The story is expressed here very simply by a single group : a mother 
 holding her dead child and looking up, as appealing to heaven. 
 The conception is pathetic, but there is nothing to identify the 
 especial story. Exhibited in 1851. Sacred subject. 
 
 J. G. Lough, bom at Greenhead, in Northumberland, began by 
 studying from the Elgin marbles ; then went to Italy in 1843, where 
 he remained for four years, but has not studied under any master. 
 
 40. MILO. Colossal Statue. 
 
 Milo (or Milon) of Crotona, was a wrestler, celebrated for his gigantic 
 form and great bodily strength, and not less for his tragical death. 
 He had been six times crowned as conqueror in the Olympic, and as 
 many times in the Pythian games ; and on one occasion had carried 
 off a bull upon his shoulders. On a certain occasion, passing through 
 a forest, he saw a tree which had been partially split by the wood¬ 
 cutters, and attempting to rend it farther with his fist, it closed 
 upon his hand ; and thus caught, and unable either to escape or 
 defend himself, he was held fast until devoured by the wolves. 
 This is a subject often repeated in sculpture, as it gives an 
 opportunity of displaying the figure fixed in position, yet in violent 
 muscular action; but it is painful in sentiment, because of the 
 
26 
 
 MODERN ENGLISH SCULPTURE. 
 
 hopelessness of the struggle. The original marble was executed for 
 the late Duke of Wellington. See (No. 101) another conception of 
 the same subject by Falconnet, where Milo has been thrown to the 
 earth and is attacked by a lion. Another famous Milo (No. 117) is 
 the statue by Puget, in the Louvre. But the conception by Lough 
 is far superior in statuesque simplicity and truth. 
 
 41. SATAN". Colossal Statue. Seated. 
 
 If the wings were taken from this statue, the bulky form would convey 
 the idea of a Hercules in repose, or a Milo of Crotona. Milton’s 
 Satan, though fallen, is still an angel, ‘ ‘ nothing less than the arch¬ 
 angel ruined.” His might is not corporeal, but spiritual. It is the 
 union of amazing intellect and beauty and ethereal grace, with 
 ambition, cunning, hatred, envy and despair, which make him such 
 a poetical creation, and therefore a fit subject for art. This statue, 
 though displaying the artist’s knowledge of form, cannot be said to 
 be poetically treated. 
 
 42. ARIEL. Statue. Small life size. 
 
 The marble is in the possession of the Duke of Sutherland. 
 
 43. TITANIA. Statue. Small life size. 
 
 44. PUCK. Statue. 
 
 These two form part of a series of figures from Shakspeare, in the 
 picturesque style. Executed in marble for Sir Matthew White 
 Ridley, Bart. 
 
 44. * DAVID. Statue. Life size. 
 
 Modelled in 1829. The original marble is in the possession of Earl Grey, 
 at Howick. 
 
 45. APOTHEOSIS OF SHAKSPEARE. Bas-relief\ 
 
 Intended for a frieze to ornament a gallery in which are placed several 
 statues taken from Shakspeare’s works. The centre represents 
 Shakspeare glorified. On the right the drama of Macbeth is repre¬ 
 sented by a succession of groups, 1. the three witches meet Macbeth 
 and Banquo ; 2. Macbeth after the commission of the murder; 
 
 3. Lady Macbeth walking in her sleep ; 4. Birnam Wood removed 
 to Dunsinane ; 5. Death of Macbeth. Macduff crowned by victory; 
 6. the three witches and Hecate. On the left the play of the Tempest 
 is represented by a succession of groups,—1. Caliban; Ariel; 2. 
 Prospero ; Miranda asleep; 3. the shipwrecked mariners ; 4. the 
 sleeping King, with the conspirators and Gonsalez ; 5. Ferdinand 
 and Miranda, with Prospero ; 6. the Masque of Ceres and Iris. 
 Picturesque style. Executed for Sir Matthew White Ridley, Bart. 
 
LOUGH—MACDONALD. 
 
 27 
 
 46. THE MOURNERS. Group. Life size. 
 
 A dead warrior lying on the earth is mourned over hy a desolate female 
 figure. His horse stands hy with head drooping. Picturesque style. 
 
 Latjeence Macdonald, a Scotchman by birth, has long been 
 settled at Rome, and has attained to great eminence in his profession; 
 he is particularly celebrated for his busts, of which there are many 
 fine examples in "the Portrait Gallery here. 
 
 47. ANDROMEDA. Statue. Life size. 
 
 She was the daughter of Cepheus, King of Ethiopia; her mother Cassiope 
 boasted that her beauty surpassed that of the Nereids, for which 
 contempt the Nereids, offended, prevailed oh Poseidon (Neptune) to 
 send an inundation, and a sea-monster, to ravage the country. The 
 oracle, having been consulted, replied, that these calamities should 
 cease if Andromeda were delivered to the monster, and Cepheus was 
 obliged to yield to the wishes of his people. She was accordingly 
 chained to a rock on the shore, and would have been devoured it 
 Perseus had not rescued her. Mounted on his winged horse he slew 
 the sea monster, and afterwards claimed Andromeda for his bride. 
 The scene of this story is by some authors placed near Joppa, on the 
 coast of Phoenicia; it was a favourite theme with the Greek poets 
 and artists; and as it gives the opportunity of displaying the undraped 
 female form in many varieties of attitude, with the association of 
 a well-known pathetic story, it has often been repeated in modern 
 times. This is a felicitous version. The original marble was executed 
 for the Marquess of Abercorn. Classical style. 
 
 48. ULYSSES. Statue. Heroic size. 
 
 Ulysses recognised by his dog Argus. The King of Ithaca, so dis¬ 
 tinguished by his wisdom and exploits in the Trojan war, was 
 condemned, by the enmity of Yenus, to many years of trials and 
 wandering before he reached his native shore; and his adventures 
 form the subject of Homer’s second great poem, the Odyssey. It is 
 there related that Ulysses, on returning to Ithaca, in the disguise of 
 a beggar, passed unheeded and unknown to all except his old and 
 faithful dog Argus :— 
 
 ‘ ‘ He knew his lord, he knew and strove to meet; 
 
 Soft pity touched the mighty master’s soul, 
 
 Adown his cheek a tear unbidden stole, 
 
 Stole unperceived.”— Odyssey , B. xvii. 
 
 This is a very fine statue, in the classical style, remarkable for 
 dignity and pathos, and for a far deeper sentiment in the features 
 than is usual in genuine Greek art; this is owing, perhaps, to 
 Macdonald’s experience in rendering countenance. The original 
 marble was executed for Sir Arthur Brooke. 
 
28 
 
 MODERN ENGLISH SCULPTURE. 
 
 William Caller Marshall, R.A., and A.R.S.A., was born at 
 Edinburgh; he studied his art under Chantrey and Baily, was 
 at Home in 1836-7-8, and has since pursued his art in London with 
 deserved and increasing celebrity. He has produced many works 
 remarkable for poetical grace and purity of feeling. He is one of the 
 three sculptors employed in the House of Lords, for which he has 
 executed the statues of the two Chancellors, Lord Clarendon and 
 Lord Somers; also the statue of Sir Robert Peel, in bronze, for 
 Manchester. 
 
 49. THE FIRST WHISPER OF LOYE. Group. Life size. 
 
 This is perhaps intended for Cupid and the nymph Encharis. He hides 
 his bow behind him with the right hand, while with the left he 
 removes her tresses, and she bends down, half yielding, half fearful, 
 to listen to his whispered tones. Classical, with something of 
 modern sentiment in the conception. 
 
 50. A DANCING- GIRL. Statue. Small life size. 
 
 The figure is represented in repose, and is particularly graceful and easy ; 
 she holds a tambourine in the left hand, and in the right hand, 
 which rests on the stem of a tree, she holds a garland. This statue 
 should be compared with Canova’s conception of the same subject, 
 No. 137. With equal elegance, the one before us has far more of nature, 
 simplicity, and quietude. She is resting, while Canova’s dancer is 
 only pausing. This statue was executed in marble, for the London 
 Art Union, and exhibited in 1848. It has been reproduced, of a 
 small size, in Parian, and forms an exquisite ornamental statuette. 
 Classical style. 
 
 51. SABRINA. Statue. Small life size. 
 
 The subject is from Milton’s “Comus.” Sabrina (the nymph of the 
 river Severn), is seated, listening to the invocation of the Attendant 
 Spirit :— 
 
 “ Sabrina fair, 
 
 Listen where thou art sitting 
 Under the glassy, cool, translucent wave. 
 
 In twisted braids of lilies knitting 
 The loose train of thy amber-dropping hair : 
 
 Listen for dear honour’s sake, 
 
 Goddess of the silver lake ; 
 
 Listen, and save !” 
 
 This charming figure, beautiful in itself, and beautiful from its 
 association with one of the greatest of our poets, has become 
 extremely popular from the small copies in Parian which have 
 found their way even to the antipodes. I am almost ashamed to 
 add that the original marble still remains in the studio of the 
 sculptor. Poetical style. 
 
MARSHALL—ROUBILLIAC. 
 
 29 
 
 52. ZEPHYR AND AURORA. Group. Life size. 
 
 Zephyr leading forth Aurora (Eos, or the Dawn,) half sustains her with 
 his circling arm, while the goddess, crowned with the morning 
 star, and holding flowers in her hand, seems in the act of descending 
 from the skies. A very beautiful and poetical composition. Classical 
 style, verging on the picturesque. 
 
 53. THE POET CHAUCER. Statue. Life size. Standing. 
 
 Geoffrey Chaucer, the author of the Canterbury Tales, lived in the time 
 of Edward III., and died in 1400. He is here represented in the 
 dress of his time, holding a pen and book, and inkhorn. (See the 
 Gallery of Portraits, No. 406). 
 
 Edgar George Papworth, Jun., studied under E. H. Daily, 
 R.A., and received the Royal Academy gold medal for the best 
 original group in sculpture in 1S53. 
 
 54. A NYMPH OF DIANA. Statue. 
 
 Seated and looking down upon her dog. 
 
 J. Richard sox. 
 
 55. MERCURY. Statue. Seated figure, life size. Presented by 
 the sculptor. 
 
 Louis Roubilliac was a Frenchman by birth, but as he lived, 
 worked, and died in England, adopted it as his country, and is 
 never reckoned among the French sculptors, I place him here. He 
 was horn at Lyons, about 1695, came to London, in 1720, a poor 
 friendless hoy, and began by working as a journeyman stone-cutter ; 
 from this position he raised himself to celebrity, and was, as Allan 
 Cunningham emphatically styles him, “a genius and a gentleman.” 
 The first work which gave him reputation was his statue of Handel. 
 His chef (Voeuvre is the statue of Sir Isaac Newton holding the prism, 
 in the Library, at Cambridge. Everything Roubilliac did was full 
 of life and vigour, but in the most exaggerated bad taste, theatrical 
 in action, often incorrect in form, and the draperies heavy, angular, 
 and fluttering in the wind. His busts are excellent. He died 
 in 1762. 
 
 56. SHAKESPEARE. Statue. Life size. 
 
 The original marble was executed for Garrick about the year 1758, and 
 now stands in the vestibule of Drury Lane Theatre. It is said that 
 
30 
 
 MODERN ENGLISH SCULPTURE. 
 
 when Roubilliac was considering in what position he should represent 
 the great English poet, Garrick threw himself into an attitude which 
 he thought poetical and Shakesperian ; and thus the most gifted of 
 mortal men stands before us here, trying to look elegant and inspired ! 
 Portrait statue; picturesque and artificial. Compare with Bell’s 
 statue, No. 9. 
 
 B. E. Spence, born at Liverpool about 1825; studied at Home 
 under Gibson. He has successfully treated several subjects taken 
 from our own poets, two of which are here exhibited; a third, Ophelia, 
 we have not seen. 
 
 57. LAYINIA. Statue. Life size. 
 
 This is “the lovely young Lavinia” of Thomson’s Seasons, whose story 
 is so familiar to us. She is represented as a gleaner looking down 
 modestly, and holding in her hand a few ears of wheat. The 
 moment chosen seems to be that where she stands before Palemon. 
 Poetical style. This statue was executed in marble for Mr. S. 
 Holmes of Liverpool. 
 
 58. HIGHLAND MANY. Statue. Life size. 
 
 This statue represents that beautiful Highland girl whom Burns loved 
 and immortalised. She holds in one hand a book, perhaps the 
 poems of her lover ; the other holds her plaid, which is partly 
 thrown over her head. The whole figure is expressive of that 
 modesty and simplicity which we have associated with the character. 
 Poetical and picturesque style. 
 
 59. FLORA. Statue. Life size. 
 
 The Goddess of flowers (who was not a Greek, but a Roman divinity), is 
 here represented crowned with flowers, holding a garland in both 
 hands, and stepping forwards. Classical. 
 
 ■William Tiieed, born iu London, studied for five years as a pupil 
 of E. H. Baily, R.A. : be then repaired to Rome, where he practised 
 his art with deserved reputation and success for twenty-two years, 
 assisted by the friendship and advice of Thorwaldsen and Gibson, 
 The artist has now fixed his residence in London. 
 
 60. NARCISSUS. Statue. Life size. 
 
 Narcissus was a beautiful youth of Thespis in Boeotia, who, according to 
 the Greek story, fell in love with his own face reflected in a 
 fountain (mistaking it for that of a Naiad), and pining to death, 
 was changed into the flower which bears his name. He is here 
 represented standing, leaning on his hunting-spear, and gazing into 
 
THEED—THRUPP. 31 
 
 the stream. The original marble was executed at Rome for the 
 Queen, and is now at Osborne. Classical. (See No, 17.) 
 
 61. PSYCHE. Statue. Small life size. 
 
 She stands in a pensive attitude holding the bow of Cupid. Executed 
 in marble at Rome, for the Queen, and now at Osborne. Classical. 
 
 62. HUMPHREY CHETHAM. Statue. Larger than life. 
 
 “ The figure of Chetbam is in an easy sitting attitude, with a scroll of 
 paper in the right hand ; and the head, which is characterised by 
 considerable expression, lias been copied from a well-authenticated 
 portrait on panel. The costume is that of the Seventeenth century, 
 and at the foot of the pedestal is a boy in the dress worn by those 
 who receive their education in the school. 
 
 ‘ ‘ Humphrey Chetham was the greatest benefactor of his time to 
 the town of Manchester. He was born in 1586, being the third son of 
 Henry Chetham, of Crumpsall, gentleman ; and is described by Fuller, 
 in his ‘History of the Worthies of England,’ as ‘dealing in Man¬ 
 chester commodities sent up to London, and signally improving himself 
 in piety and outward prosperity. He was a diligent reader of the 
 Scriptures, and of the works of sound Divines, and a respecter of 
 such ministers which he accounted truly godly, upright, sober, 
 discreet, and sincere. He was made high sheriff of the county of 
 Lancaster in 1635, and discharged the place with so great honour, 
 that very good gentlemen did wear his cloth at the assize to testify 
 their unfeigned affection to him.’ 
 
 “This admirable man founded a school for forty boys; and 
 bequeathed 1000Z. for the purchase of a library, and for the use 
 of all who wished to improve themselves by reading. The value 
 of the property bequeathed for these purposes has now so much 
 increased as to be sufficient to educate, maintain, and clothe 100 boys; 
 and the library which was thus begun contains, at the present time, 
 more than 23,000 volumes of the best works in Theology, History, 
 Greek and Miscellaneous Literature. 
 
 ‘ ‘ The magnificent Statue now before us is the pious gift of one who, 
 in early life, was a recipient of Chetham’s bounty; and who, after 
 vainly endeavouring to enlist others who had been in like manner 
 benefited, in the work of erecting a suitable memorial in honour of 
 their benefactor, at length determined to undertake the whole 
 himself. It would be but justice to the high motives of this gentle¬ 
 man, as well as gratifying to the public, if more were known 
 respecting him than we are able to communicate ; but his name is 
 kept secret, and must remain so for some length of time.” 
 
 F hederick Tnitupp. (We have not been favoured with any 
 particulars relative to this sculptor.) 
 
32 
 
 MODERN ENGLISH SCULPTURE. 
 
 63. A BOY WITH A BUTTERFLY. Statue. Life size. 
 
 He kneels npon one knee, about to seize the winged creature which 
 has settled on the ground. Suppose this subject treated with more 
 of the classical spirit, it would suggest the idea of Eros about to 
 raise Psyche (the soul), from the earth. 
 
 Sir Richard Westmacott, R.A., D.C.L., born in London; went 
 to Italy in 1792; studied for some time under Canova; succeeded 
 Flaxman as professor of Sculpture in the Royal Academy in 1827. 
 
 64. PSYCHE. Statue. Small life size. 
 
 The original marble is in the gallery of the Duke of Bedford, at 
 "Woburn Abbey. 
 
 65. A YOUNG NYMPH. Statue. Small life size. 
 
 She is in the act of unclasping her zone. The original marble is in the 
 possession of the Earl of Carlisle. 
 
 Richard Westmacott, Juisr., R.A., born in London ; went to Italy 
 
 in 1820, and studied there for six years, but not under any master. 
 
 66. A EAUN WITH CYMBALS. Statue. Life size. 
 
 Seated figure ; the statue in marble was executed for the Duke of 
 Devonshire. 
 
 67. AN ANGEL WATCHING. Statue. Life size. 
 
 Part of a large monumental composition. The original marble of this grand 
 and simple figure was executed for Lord Ashburton. Sacred subject. 
 
 67. * DAVID. Statue. Life size. 
 
 As conqueror of Goliah. 
 
 68. VENUS AND CUPID. Group. Life size. 
 
 Venus carries her mischievous son on her back slung in her girdle. 
 
 69. VENUS INSTRUCTING CUPID. Bas-relief. 
 
 Venus instructs Cupid to take on himself the form and features of the 
 boy Ascanius, and in this disguise to fire the heart of Dido with an 
 unconquerable love for iEneas. 
 
 70. VENUS AND ASCANIUS. Bas-relief. 
 
 The goddess then takes up Ascanius, conveys him, sleeping, to her 
 Idalian bowers, and keeps him' there till Love has accomplished the 
 
WESTMACOTT—WYATT. 
 
 33 
 
 purposed fraud. Ascanius wears the Phrygian cap proper to those 
 who inhabited the plains of Troy. 
 
 Both subjects are taken from Virgil (iEneid. b. i., 935), and form 
 a pair. They were executed in marble for the Earl of Ellesmere. 
 Classical style. 
 
 71. “ GO AND SIN NO MORE.” Bas-relief. 
 
 The subject is taken from John viii., II. Sacred subject. 
 
 72. PAOLO AND FRANCESCA. Bas-relief. 
 
 'The subject is taken from the fifth canto of Dante’s Inferno, where 
 Paolo Malatesta, and Francesca di Rimini, who had sinned together, 
 are swept along in the region of eternal woe by a perpetual whirl¬ 
 wind,— 
 
 “No hope to them can ever comfort bring, 
 
 Either of rest or lesser punishment.” 
 
 This bas-relief was executed in marble for the Marquess of Lansdowne. 
 
 Richard Wyatt, born in 1795, in London. He studied first 
 under the statuary, Rossi; in 1821 went to Paris and studied for a 
 short time under Bosio. He then proceeded to Rome, and placed 
 himself under the direction of Canova ; here he found Gibson, and a 
 close friendship took place between them, which no rivalry afterwards 
 disturbed. Wyatt continued to reside at Rome for nearly thirty 
 years, devoted to his art, living a life of tranquil retirement, and 
 working from early morning till late at night. His character as a 
 man was gentle and amiable; he died of a sudden attack in May, 
 1850. Several of his works were in the Great Exhibition of 1851, 
 and the prize of sculpture was, on that occasion, adjudged to him, 
 though dead. His great merit consists in the treatment of the female 
 figure ; in softness and finish of execution he nearly equals Pradier, 
 and in purity and delicacy of sentiment far excels him. All his works 
 are classical in subject and conception, with a touch of modern senti¬ 
 ment and feeling in the treatment. 
 
 73. INO AND BACCHUS. Group. Life size. 
 
 Sbe is seated, and the boy-god, who has flung himself against her knee, 
 is looking up in her face. Clusters of grapes are near them. When 
 Bacchus lost his mother Semele, he was confided by Zeus (Jove) to 
 the care of Ino, his aunt, who nursed him tenderly, and fed him 
 with grapes ; after her death Ino was rendered immortal by her 
 divine nursling, and worshipped as a sea-nymph under the name 
 of Leucothea. Another treatment of this subject may be remembered 
 in the beautiful group by Foley. Classical. 
 
 D 
 
34 MODERN ENGLISH SCULPTURE. 
 
 74. CUPID AND THE NYMPH EUCHARIS. 
 
 The subject is from Fenelon’s Telemachus. Cupid is sent by Venus to 
 inspire with love the nymphs of Calypso. Eucharis, seated, appears 
 to listen to his beguiling words; 
 
 75. A NYMPH. Statue. Small life size. 
 
 She sustains her drapery with both hands, the upper portion of the figure 
 being undraped. Classical. 
 
 76. A NYMPH ENTERING THE BATH. Small life size. 
 
 She is drawing the drapery from her left arm, holding in her left hand 
 the girdle she has just unclosed ; she looks down, contemplating the 
 stream at her feet ; behind her (and serving to sustain the figure), 
 is a vase, which is the appropriate accessory. Exceedingly elegant 
 in conception and treatment. The original marble was executed for 
 Lord Charles Townshend. At the sale of Lord Charles Townshend’s 
 effects, in May 1854, this beautiful statue was sold for 410 guineas, 
 and is said to have passed into the possession of Baron Rothschild. 
 Classical style. 
 
 77. A NYMPH ABOUT TO BATHE. Statue. Life'size. 
 
 The same subject as the preceding, but differently treated. She, also, 
 sustains her drapery, and steps forward, just touching the water with. 
 her left foot. Classical. 
 
 78. A HUNTRESS. Statue. Life size. 
 
 Probably one of the attendants on Diana, the divine huntress; she holds 
 in one hand a leveret, in the other a bow ; a beautiful and animated 
 conception, both in the face and the movement. Classical. 
 
 79. A NYMPH OF DIANA. 
 
 She holds a leveret in her left hand ; with her right she repels a grey¬ 
 hound. The marble statue was exhibited in 1850. The subject 
 is classical, but the attempt to give texture (as here of the hide of the 
 dog and the leveret), makes the treatment verge on the picturesque. 
 
 80. ZEPHYR WOOING FLORA. Group. Life size. 
 
 81. A SHEPHERDESS WITH A RID. Statue. Small life size. 
 
 She is seated, holding flowers with her right hand, while with the left she 
 repels a kid, which is climbing to her knee to reach them. 
 
 82. PENELOPE. Statue. Small life size. Standing. 
 
 She stands looking down at the dog Argus ; the right hand sorrowfully 
 pressed to her heart; in the left she holds the bow of Ulysses. 
 
WYATT—BARRE—BOSIO. 
 
 35 
 
 The passage of the Odyssey which suggested this fine statue is to he 
 found in Book xxi., where Penelope, still grieving over the absence 
 of her heroic husband, but beset by dangers, proposes to her suitors 
 to bestow her hand on him who should send a shaft from the bow 
 of Ulysses through twelve rings in succession. Classical style. Very 
 beautiful and antique in conception, with all the repose, and perhaps 
 more of sentiment than the Greek artists would have given. This 
 statue was executed in marble for the Queen, and is now in the 
 private apartments of Windsor Castle. 
 
 FRENCH SCULPTURE. 
 
 \* The names of the artists are placed alphabetically. 
 
 Christophe-Gabriel Allegrain, born at Paris, 1710 ; the time 
 in which he flourished (the reign of Louis X V.) was an age of the 
 most depraved taste in art, when the works of Pigalle were supposed 
 to vie with those of Phidias. Allegrain was patronised by Madame 
 Du Barry; he died in 1795. 
 
 83. VENUS AT THE BATH. Statue. Life size. 
 
 Seated figure, almost undraped ; a very perfect example of what we call 
 French grace, in the Louis Quinze style : dated 1767. From the 
 Gallery of Modern Sculpture in the Louvre, at Paris. 
 
 Augttste Barr£, of Paris. 
 
 83*. BACCHANTE. Statue. Life size. 
 
 She is crowned with ivy ; the panther, sacred to Bacchus, is at her side. 
 The attitude and the air of the head express a mixture of languor 
 and inebriety. A classical subject, neither in a classical nor a pure 
 style of art. 
 
 Francis Joseph Bosio, born at Monaco in 1769, studied at Paris 
 in the atelier of Pajou, and has since practised his art there, 
 patronised and employed by Napoleon, and, after the restoration, by 
 Louis XVIII; Member of the Legion of Honour; Knight of the 
 order of St.-Michel, and Baron. He died in 1846, and has left 
 scholars who have attained a high reputation. 
 
 r» 2 
 
MODERN FRENCH SCULPTURE. 
 
 36 
 
 84. THE NYMPH SALMACIS. Statue. Small life size. 
 
 She was the presiding nymph of a fountain near Halicarnassus in Caria, 
 which had the property of rendering weak and effeminate all who 
 drank of its waters. She is here seated on the ground; the attitude is 
 ungraceful and unmeaning : the face and features bad. This statue, 
 which ranks as a masterpiece of the artist, gives no high idea of his 
 power. The original in marble was in the Exposition of 1824 ; it was 
 purchased by the French government, and placed in the gallery of 
 the Luxembourg, at Paris. A classical subject; style conventional 
 and poor. 
 
 Pierre Cartelier, born at Paris 1757, died there in 1831. A 
 sculptor of great reputation in bis own country. By him are the 
 bas-reliefs on the triumphal arch in the Place du Carrousel, and the 
 statue of Minerva, in the gallery at Versailles, is considered his 
 master-piece. 
 
 85. MODESTY. Statue. Life size. 
 
 A female figure standing, and about to wrap her drapery round her, 
 as if offended by intrusion ; a tortoise shrinking into its shell is 
 at her feet, which completes the idea. The original statue was 
 executed in marble for the Empress Josephine, and stood in her 
 boudoir at Malmaison. Classical, but rather rather too sentimental 
 in style. 
 
 Antoine-Denis Chatjdet, born at Paris in 1736, died in 1810. 
 He commenced his career as a painter; afterwards became a distin¬ 
 guished sculptor, and was much patronised by Napoleon, for whom 
 he designed the greater number of the series of the “ Napoleon 
 medals,” and the bronze statue, which once stood on the summit 
 of the column in the Place Vendome, afterwards pulled down 
 ■with ignominy, and the fragments used up to cast the bronze of 
 Henry IY. At the period of Napoleon’s marriage he was summoned 
 to Compeigne, to model a bust of the new empress, Marie-Louise ; 
 on presenting himself, he found a rival sculptor already employed 
 on the task, which had such an effect upon him that he died a few 
 days afterwards. 
 
 86. CUPID. Statue. Life size. 
 
 Cupid with a butterfly (the emblem of Psyche or the Soul) ; he kneels 
 on one knee, and while seizing the butterfly with one hand, presents 
 a flower to attract it with the other ; a fanciful treatment of one of 
 the thousand variations on the myth of Cupid and Psyche. Classical. 
 
CHAUDET—DANTAN. 
 
 37 
 
 87. CYPARISSUS. Statue. Life size. 
 
 This was a beautiful youth, the son of Telephus, who having by accident 
 killed the favourite stag of Apollo, of which he had the care, was 
 seized with such excessive grief that he pined away, and was changed 
 into a cypress. The original marble is in the Louvre, at Paris. 
 Classical style, but feeble. 
 
 88. A DOG. 
 
 Lying on the ground and watching with ears erect. The original marble 
 is in the Luxembourg gallery. 
 
 89. CASIMER PERIER. Medallion . 
 
 (See the Gallery of Portraits No. 291). 
 
 Clattde-Michel Clodion-, born at Nancy, in France, in 1745, 
 died at Paris in 1814. He executed a great number of small orna¬ 
 mental works, remarkable for grace and what the French call verve , 
 but not in a pure or classical taste; and one large group, a family 
 about to be destroyed by the hood, which has great merit, and is 
 now in the gallery of the Luxembourg at Paris.* 
 
 90. A BACCHANTE. Statue. Small life size. 
 
 She bears a little satyr on her shoulder. A classical subject in the 
 picturesque style. 
 
 Antoine-Laueext Dantan - , born at St. Cloud, near Paris, studied 
 under Bosio, and obtained the hrst prize of the Academy, (“ Le Grand 
 Prix de Rome”) in 1828. This Dantanmust not be confounded with 
 another Dantan, who is a caricaturist in sculpture. 
 
 91. A NEAPOLITAN GIRL. Statue. Life size. 
 
 She is listening to the sound of her tambourine. An elegant statue, 
 in the picturesque style. 
 
 92. ADMIRAL DUGUESNE. Colossal Statue. 
 
 For an account of this French naval hero, see Portrait Gallery, No. 265. 
 He is here represented standing in the gorgeous costume of his time, 
 (that of Louis XIV.) with cannon and cannon-balls at his feet. The 
 statue has been cast in bronze for his native town, Dieppe. Monu¬ 
 mental picturesque style. 
 
 * By this sculptor are two small groups of Centaurs and Bacchantse, 
 modelled in terra-cotta, and wonderful for vigour and spirit, in the- 
 picturesque style ; now on view at Marlborough House. 
 
38 
 
 MODERN FRENCH SCULPTURE. 
 
 Joseph Debay, a pupil of Chaudet, and at present living at Paris. 
 
 93. THE THREE FATES. Group. Larger than life. 
 
 The Three Fates (Les Parques; in Latin, Par cm; in Greek, Moirai), ancient 
 Greek divinities, who presided over the duration and destinies of 
 human existence—birth, life, and death. Sometimes the poets 
 describe them as three stern, hideous old women (thus Michael Angelo 
 has painted them) ; but in general they are represented as three 
 virgins, ever young, and severely beautiful, whom the gods have 
 commissioned to spin out the existence of man. In the group before 
 us, Clotho, in the centre, spins the thread; Lachesis, seated, holds 
 the globe (horoscope), and near her is the urn from which Zeus 
 distributes the various destinies of mortals ; on the left of Clotho 
 sits Atropos, with a pair of shears to sever the thread of existence. 
 She has the winged thunderbolt on her head, and figures as Nemesis. 
 On the pedestal, twenty-four figures, floating hand-in-hand, represent 
 the circle of human existence. Classical subject; and clever, 
 academical treatment. 
 
 Jean Baptiste Joseph Debay, born at Nantes, studied under 
 his father, Joseph Dehay, gained the first prize of the Academy, 
 called the “ Prix de Pome” in 1829, and the cross of the Legion of 
 Honour in 1851. 
 
 94. THE CHASE. Group. Life size. 
 
 Called also the Deer-Slayer. The hunter has seized the stag at bay, by 
 the horns, and with the other grasps his sword : a hound has seized 
 the animal by the ear. A fine spirited group, in the picturesque style. 
 Intended to be cast in bronze, for which it is especially adopted. 
 
 95. MODESTY AND LOYE. Group. Life size. 
 
 Auguste Debay. —The younger son of Joseph Debay. He studied 
 first as a painter under Gros, but has since become a sculptor. 
 
 96. THE FIRST CRADLE. (Le premier Berceau). Group. Life 
 
 size. 
 
 Eve, our general mother, holds on her knees, and encircled in her arms, 
 her two sons, Cain and Abel, who slumber with their arms entwined 
 in each other. The heads of the two children are well discriminated 
 in character. Cain seems to frown in his sleep ; Abel, has the soft 
 pure lineaments which the early painters gave to the heads of the 
 infant Christ. Eve, bending thoughtfully and fondly over them 
 seems to anticipate their future fate. A group of extraordinary 
 talent and power, both in conception and treatment. The form of 
 Eve has all the amplitude and vigour which ought to characterise 
 
DEBAY—DUEET—ETEX. 
 
 39 
 
 the first parent; and thus Michael Angelo has represented her. On 
 the pedestal are three small bas-reliefs, from the history of the two 
 brothers. The original marble of this fine group was in the Great 
 Exhibition of 1851, and attracted much attention. I am unable 
 to say into whose possession it has passed. Sacred subject. 
 
 Louis Despkez, born at Paris, a pupil of Bosio. He was sent to 
 Pome with the Great Prize, in 1826. He is principally distinguished 
 for his busts and portrait statues. 
 
 97. LTNGENUITE. Statue. (Simplicity.) 
 
 The idea is expressed here by the figure of a very young girl, kneeling on 
 one knee, and looking with curiosity at a snail, while timidly touching 
 its horns. This statue gained the prize medal for sculpture in 1843. 
 
 Feaxcesco Dueet is the son of a sculptor. He was born in Spain 
 about 1806, studied under Bosio, and was sent to Pome with the first 
 prize in 1824. He is a man of great genius, and has executed many 
 works in his own country, distinguished by their elegance and by a 
 certain originality of treatment. 
 
 98. A NEAPOLITAN DANCEP. Statue. Small life size. 
 
 He is dancing the Tarantella. The original model was exhibited in 
 the Salon of 1833, with very general applause. It has since been 
 purchased by the government, and cast in bronze for the gallery of 
 the Luxembourg, at Paris. A statue in the picturesque style, fall of 
 nature, life and spirit. 
 
 99. A NEAPOLITAN IMPPOYISATOPE. Statue. Life size. 
 
 Crowned with vine leaves, and with a tub of grapes at his side, he holds a 
 guitar, and seems to be reciting for the amusement of the villagers. 
 Full of life and expression, and admirably executed, in the picturesque 
 style. 
 
 Axtoixe Etex, born at Paris, where he studied under Pradier. 
 He obtained the cross of the Legion of Honour in 1841. Among his 
 works are some of the best bas-reliefs on the Arc-de-l’Etoile, at Paris. 
 
 100. CAIN. Colossal Group. Marble. 
 
 Cain, seated in despair, with his wife and children at his feet; ‘ 1 My 
 punishment is greater than I can bear ! ” 
 
40 
 
 MODERN FRENCH SCULPTURE. 
 
 Etienne-Matjrice Falconet, born at Vinis, on tbe Lake of 
 Geneva, in 1716. A sculptor celebrated in bis time, and a man of 
 great genius, though depraved by the taste of his age. He is eminently 
 a picturesque sculptor. The famous colossal equestrian statue of Peter 
 the Great, at St. Petersburg, is one of his best works, and occupied 
 him twelve years. He died in 1791. 
 
 101. A BATHER (LA BAIGNEUSE). Statuette. 
 
 102. MILO OF CROTONA. Small Group. 
 
 Caught by the hand in the split trunk of a tree and unable to defend 
 himself, he is devoured by a lion. This spirited group was executed 
 in 1745 (See No. 40). It differs from the usual treatment in 
 this, that Milo is here thrown to the ground. A classical subject; 
 picturesque style. 
 
 C. Fraikin, a Belgian sculptor of high reputation, who resides at 
 Shaerbeck, near Brussels. It is said of him that he excels in the 
 female figure, and in the expression of life and movement, and also, 
 
 ‘ 1 that he has the same luxurious appreciation of feminine beauty, 
 and the same power of producing it with his chisel that Etty had 
 with his pencil;” with regard to which, it may be remarked, that 
 nothing could be more unfit to be transferred to sculpture than the 
 style of Etty; and that Fraikin is as deficient in purity of taste as 
 Canova, Pradier, and some others. 
 
 103. CUPID CRADLED IN A SHELL. 
 
 The idea of this composition seems to have been suggested by Raphael’s 
 marble of the Dead Boy and the Dolphin. 
 
 104. CUPID CAPTIVE. Group. Life size. Marble. 
 
 This group represents a nymph or a Venus (for the character is not well 
 discriminated), running off with a little Cupid seated on her shoulder, 
 whom she holds fast by one leg and a finger. The figure is almost 
 without drapery and the grace of the attitude mannered and 
 picturesque. The original marble was in the Great Exhibition of 
 1851. 
 
 105. A WOMAN OF THE CAMPAGNA OF ROME. Ideal bust „ 
 
 Life size. 
 
 A melancholy and classical head. 
 
FRAIKIN—GrEEFS. 
 
 41 
 
 106. A WOMAN OF THE RHINE. Ideal bust. Life size. 
 Crowned with vine leaves, and with a joyous expression. 
 
 These two companion ideal busts are intended, in subject, in 
 character, and in sentiment, to contrast ■with each other. 
 
 Willem G-eefs, born in 1806; the son of a baker. He is now 
 the first of the Belgian sculptors. His brother, Joseph Geefs, also a 
 sculptor, executed the colossal equestrian statue of Godfrey of 
 Bouillon, which was in the Great Exhibition of 1851. 
 
 107. PETER PAUL RUBENS. Colossal Statue. Bronze. 
 
 Erected to the honour of the celebrated painter in the Place Vert at 
 Antwerp, where Rubens resided for many years of his life. This 
 statue represents him in the dress of his time ; his palette at his feet. 
 
 108. MALIBRAN. Statue. Life size. 
 
 Maria Garcia de Beriot, better known as Madame Malibran, the celebrated 
 singer ; next to Pasta, the most gifted lyrical actress of modern 
 times. After a brief, but brilliant career, she died suddenly, while 
 singing at the musical festival at Manchester, in 1836, being in her 
 twenty-eighth year. 
 
 It has been remarked that the pose of this statue is not charac¬ 
 teristic of the vivacious, impassioned singer it represents ; but we 
 must remember that it is a monumental and idealised —not & portrait, 
 statue. The original marble is on her monument at Laeken, near 
 Brussels. 
 
 100. THE LIFE OF ST. HUBERT IN A SERIES OF EIGHT 
 BAS-RELIEFS. 
 
 St. Hubert, the patron saint of hunting, and a popular saint of the Low 
 Countries, is supposed to have been born about the year 663. He 
 was a nobleman of distinction in the court of king Thierry, much 
 addicted to worldly pleasures, more especially to the chase, in which 
 he spent the greatest part of his time without taking any thought of 
 his salvation. On a certain day, while hunting in the forest of 
 Ardennes, he was miraculously converted, quitted the world, and 
 after living for some years in religious retirement, he succeeded the 
 martyr St. Lambert, as Bishop of Maestricht ; he afterwards became 
 first Bishop of Liege. During his lifetime he was distinguished by 
 his virtues and his charities, and extended the blessings of Christian 
 civilisation through the wild half-heathen country round him : he is 
 supposed to have died in the year 727. 
 
 The Church of St. Hubert in Ardennes had fallen into decay, and the 
 shrine of the famous old Saint had disappeared, when the present 
 King of Belgium, himself a Protestant, presented to his Roman 
 Catholic subjects a beautiful tomb commemorating the patron Saint 
 
42 
 
 MODERN FRENCH SCULPTURE. 
 
 of the locality. The execution of the work was confided to "Willem 
 (reefs, and the design and execution are both eminently beautiful. 
 It consists of a sarcophagus raised on a plinth ; on the summit is the 
 half recumbent figure of the Saint in white marble, wearing his 
 episcopal mitre and robes. Around the sarcophagus are placed eight 
 subjects in bas-relief, three on each side, and one at each end. W r e 
 shall take them in the following order. 
 
 A. The birth of St. Hubert and his appearance as a benefactor on earth. 
 
 Angels present him, as an infant, to Religion; the poor rejoice. 
 Eight figures. 
 
 B. St. Hubert hunting in the forest of Ardennes is converted by the 
 
 miraculous appearance of a stag bearing a luminous cross between 
 his antlers. An angel points the vision. The horse and two dogs 
 complete the group. 
 
 C. St. Hubert retires as a penitent into the depths of the forest: he is 
 
 seen kneeling before a cross accompanied by angels : one of whom 
 sings hymns of praise. Three figures. 
 
 D. St. Hubert is ordained Bishop of Maestricht by Pope Sergius I. Ten 
 
 figures. 
 
 E. St. Hubert appears enthroned as Bishop and the father of the poor. 
 
 He is healing the sick, clothing the naked, and feeding the hungry. 
 Eleven figures. 
 
 F. St. Hubert, attended by his clergy, removes the body of St. Lambert 
 
 from Maestricht to Liege. Devout people kneel as they pass by. 
 Eleven figures. 
 
 G. The death of St. Hubert : he expires amongst his clergy and his 
 
 people, who are weeping at his feet, while an angel tenderly kisses 
 his hand. Ten figures. 
 
 H. The Saint is laid in his tomb in the Cathedral at Liege, The Bishop 
 
 behind is his son Floribert, who succeeded him. In the year 825, 
 his remains were transported to the church where this beautiful 
 monument has recently been placed. Eight figures. 
 
 These compositions are designed with much poetic feeling, and executed 
 with great skill and delicacy, in the picturesque style of the early 
 Renaissance, (the same style that we admire in the gates by Lorenzo 
 Ghiberti in the Renaissance Court.) The figures are in different 
 degrees of relief, those in the background being almost flat, whilst 
 those in front are in alto relievo. A more classical style of art 
 would have ill suited either the purpose or the locality. 
 
 Pierre-Frarqois-Gregoire Girard, bom in 1783, gained the 
 Great Prize in 1806, and was sent to Rome accordingly. He has 
 executed some fine works. 
 
 110. A DOG. 
 
 A large hound, sitting. The original marble is regarded as a chef- 
 d’oeuvre, and is now in the Louvre, at Paris. 
 
HOUDON—JULIEN—LEQUESNE. 
 
 43 
 
 Ceaude-Baptiste-Eugene Guillaume, born at Montbard (Cote- 
 d’Or), studied at Paris under Pradier; gained the Great Prize of tlie 
 Academy (“ Prix de Rome”) in 1845. 
 
 111. AN ITALIAN MOWER. Statue. Life size. 
 
 "Well and skilfully executed, and natural and easy in the attitude. 
 Classical style. 
 
 Jean-Antoine Hottdois', born at Versailles, 1741, died at Paris, 
 1828. Though leaning to the affected taste of his time, Houdon was 
 a man of genius. His most celebrated work is the well known statue 
 of St. Bruno, in the Certosa at Rome. 
 
 112. A BATHER. Statue. Life size. 
 
 Pieree Julies, born at Puy-en-Velai, 1731, studied at Lyons under 
 Coustou. He went to Rome with the Great Prize, and there meditated 
 the reform of his art, which had fallen into the lowest degradation in 
 point of style; but he could never raise himself much above the taste 
 of his time. One of his most charming works is the Bathing Nymph, 
 now in the Louvre. He died in 1804. 
 
 113. AMALTH2EA. Group. Life size. 
 
 Seated, and at her side the she-goat. According to the Greek tra¬ 
 dition, Amalthsea was a nymph, the daughter of Oceanus, who, when 
 Zeus (Jupiter) was horn in Crete, nursed him, and fed him with the 
 milk of a she-goat. Zeus broke off one of the horns, and conferred 
 on it the privilege of being always filled, according to the will of the 
 possessor : hence the origin of the Cornucopia, or Horn of Plenty, 
 always teeming with fruits and flowers. There is an ancient bas- 
 relief in which Amalthsea is giving Zeus drink from a goat’s horn. 
 This group is fine, the subject classical; the treatment has life and 
 elegance with a certain sentiment, quite French and not at all Greek. 
 The original marble is in the gallery of the Luxembourg, at Paris. 
 
 Eugene -Louis Lequesne, born at Paris, studied under Pradier; 
 obtained the First Prize for sculpture in 1844, wbicb conferred the 
 privilege of going to Rome, with a pension. He has since produced 
 several fine works. 
 
 114. A DANCING FAUN. Statue. Life size. 
 
 He stands with one foot sustained on a wine-skin. The tipsy jollity and 
 thoroughly animal enpression in this statue is very much in the 
 
44 
 
 MODERN FRENCH SCULPTURE. 
 
 antique spirit, and tlie execution admirable, full of life and vigour. 
 Classical style ; fine and original in the conception. 
 
 Charles-Frahcois Lebcetjp Nahtethl, Lorn at Paris in 1792; 
 studied under Cartelier, and was sent to Rome with the Great Prize 
 of the Academy in 1817 ; succeeded Cartelier as member of the 
 French Institute in 1831, and received the cross of the Legion of 
 Honour in 1837, He has a distinguished reputation in his own 
 country. 
 
 115. EURYDICE. Statue. Life size. 
 
 The beautiful wife of Orpheus, when flying from the pursuit of AristEeus, 
 was bitten by a serpent, and died in consequence. This statue 
 was executed about 1822, and placed in the gardens of the Palais- 
 Royal. The forms and workmanship extremely fine, but the attitude 
 ill chosen and unpleasing, because uncertain and transient. Classical 
 subject, rather picturesque in taste and treatment. 
 
 Theodore Phyffers, born at Louvain, in Belgium —a pupil of 
 Gierts, under whom he executed a great many of the Antwerp 
 Cathedral stalls; was engaged by Pugin to work in the Houses of 
 Parliament, and has restored the Walsingham Abbey font in the 
 Mediaeval Court. 
 
 115*. CHARITY. A Small Group. 
 
 In the monumental style, executed in 1840. 
 
 J. M. Pollet, of Paris. 
 
 115**. NIGHT. Statue. Life size. 
 
 A female figure, undraped, and seeming to float on the air, sustained 
 only by a portion of her starry robe, which appears to have dropped 
 from her limbs; the head thrown back, and the arms over it as if in 
 slumber; a star upon her brow. Extremely clever, and well executed, 
 but the conception is neither sculptural nor in pure taste. 
 
 James Pradier, born at Geneva in 1794, studied at Paris under 
 Lemot, died at Paris in 1852. The fame of this accomplished sculptor 
 rests principally on the success with which he represented the un¬ 
 draped female figure, and the exquisite softness and delicacy with 
 which he worked the marble. In this he has far exceeded Canova, 
 
PRADIER—PUGET. 
 
 45 
 
 but lias also exceeded him. in the leaning to the sensnal and the 
 meretricious in sentiment. His statue of Phryne, the Athenian 
 •courtesan (which was in our Great Exhibition of 1851), was a signal 
 example of his highest merit and his greatest defects. 
 
 116. YENUS DISARMING CUPID. Group. Life size. 
 
 Kneeling on one knee, she takes his bow from him while he leans against 
 her. Classical subject. From the combination of the figures it 
 seems to be fitted for a certain space or locality ; the treatment of 
 the flesh, and modelling of the forms, particularly in the figure of 
 Cupid, most skilful. 
 
 116*. A CHILD. Recumbent Statue. 
 
 It appears to be a monumental figure, and to represent one of the Orleans 
 family. 
 
 Pierre Puget (who belongs rather to the late Renaissance than to 
 the modern school) was born at Marseilles in 1622, and died there in 
 1694. His father was a carver on wood, employed in the docks, and 
 so poor that he could do little or nothing for his son. Young Puget, 
 self-educated, and full of genius and energy, set off on foot for Italy, 
 in his seventeenth year ; reached Florence, where he struggled for a 
 time with poverty and want, but at last attracted the notice of Pietro 
 da Cortona, the fashionable painter of that period, and under him 
 made his first studies in painting. Soon after his return to his native 
 place he gave up painting, and betook himself to sculpture, archi¬ 
 tecture, and ship-building. His life from this time was active and 
 prosperous; his industry, his energy, his variety of talent, were 
 wonderful; but in all he did, his taste, his style, were those of the 
 time, verging on the theatrical, the false, the exaggerated. One of 
 his best works is the St. Sebastian in the Church of the Carignano, at 
 Genoa. Puget was patronised by Louis XIY., but, independent and 
 virtuous in his habits and principles, he preferred working in his 
 native town to encountering the jealousies of the court. The French, 
 who are justly proud of him, style him the Michael Angelo of France; 
 but the title has not been confirmed by the voice of Fame. 
 
 117. MILO OF CROTONA. Colossal Group. 
 
 This celebrated statue was modelled and executed in marble at Toulon, 
 in 1683, while Puget was employed in the dockyards there, in 
 designing poops and figure-heads for the royal galleys. It is the 
 earliest attempt in modern sculpture to step out of the tame conven¬ 
 tional affectations of the time, into the tragic, the terrible, the 
 dramatic ; and in this respect it is remarkable ; the forms are 
 
46 
 
 MODERN ITALIAN SCULPTURE. 
 
 correct, and the action of all the muscles expressed with astonishing 
 energy ; hnt it is painful in proportion as it is expressive, and too 
 picturesque and theatrical in the treatment. It obtained unbounded 
 admiration at the time, was sent to Paris, placed by Louis XIY. 
 in the gardens at Versailles ; and the artist mun'bcently recompensed. 
 It is related, that when the statue arrived at Versailles and was taken 
 out of its case in presence of the King and the court, the Queen 
 covered her eyes, exclaiming, 11 Ah! le pauvre homme /■’ an 
 exclamation which those who look on it here will be inclined to 
 repeat. The story of Milo has been already told (see Nos. 40 & 101). 
 According to the Greek tradition he was attacked by wolves, and 
 Lough, in his statue, has adhered to this fact. Falconnet and Puget 
 have adopted the lion, as capable of more noble and sculptural 
 treatment. In this group, the lion springing on the defenceless man 
 from behind is neither sculptural nor natural, but twisted like a snake. 
 After remaining in the garden of Versailles for more than a hundred 
 years, the group of Milo has lately been removed to the Louvre, 
 where it now stands. A classical subject, in the picturesque style. 
 
 Etienne Jules Ramey, the son of a sculptor, born 1796 ; studied 
 under his father, at Paris ; obtained, in 1815, the Great Prize ( Le 
 Prix de Rome), and the work which first gained him notice was 
 the statue exhibited here. His best work is the group of Theseus 
 and the Minotaur, in the. Tuileries Garden, but it is not very good; 
 He died in 1852. 
 
 118. INNOCENCE. Statue. Small life size. 
 
 Represented here as a young girl bewailing the death of a snake. 
 Classical, but feeble and sentimental in conception and treatment. 
 
 ITALIAN SCULPTURE. 
 
 *** The names of the sculptors are arranged alphabetically. 
 
 Lorenzo Bartolini, a Florentine sculptor, whose studio was well 
 known to English travellers, by whom he has been much patronised. 
 He studied first at Paris, where he gained the Great Prize in 1803. 
 His works are numerous, particularly his busts. He is lately dead. 
 
BARTOLINI—BENZONI— BIENAIME. 
 
 47 
 
 119. VENUS. Statue. Life size. 
 
 She stands, looking down, and sustaining her drapery in her left hand. 
 The original marble is in the Pitti Palace at Florence. 
 
 120. A GIRL PRAYING. Statue. Life size. 
 Female kneeling figure completely undraped. 
 
 121. CHARITY. Group. Larger than life. 
 
 A female figure carrying an infant on her arm, while she is instructing 
 a child walking by her side. The original marble is in the Pitti 
 Palace at Florence. 
 
 G. M. Benzoxi, of Bergamo in Lombardy, hut residing in Rome. 
 
 122. CUPID DISGUISED IN A LAMB’S SKIN. Statue. 
 
 Small life size. 
 
 In the picturesque style ; and as an ornamental statue, very elegant and 
 well executed. 
 
 123. DIANA. Statue. Life size. 
 
 Her bow in one hand, an arrow in the other, and attended by a dog. 
 A common-place ornamental treatment of the subject. 
 
 Bieyaim^, residing in Rome. 
 
 124. PSYCHE. Statue. Life size. Marble* 
 
 She stands, holding the dagger and lamp in her right hand, and with 
 her left shading her face from the light; the moment represented 
 is that in which she is about to slay her husband, Cupid. Classical. 
 
 Antokeo Canova was born at Possagno, a little village in the 
 Venetian territories; and it is worthy of remark, that this insignificant 
 hamlet, which before his time was not to be found in any map of. 
 Italy, now finds a place on almost every map. The parents of Canova 
 were peasants, on the estate of Count Ealiero, and the first proof he 
 gave of his turn for art, was the model of a cow, in butter, for the 
 table of the count. His patron sent him to Venice, to study in the 
 academy there. He gained, in a few years, the highest prize for 
 
48 
 
 MODERN ITALIAN SCULPTURE. 
 
 sculpture, and was sent to Rome, in 1774, with, a pension of 300 
 ducats. He Lad already modelled the group of Daedalus and Icarus, 
 and on Lis arrival at Rome Le produced, in clay, tLe group of 
 TLeseus and tLe Centaur. TLese works were not only full of pro¬ 
 mise, Lut in reality surpassed anytLing tLat Lad Leen produced for 
 a long time. From tLe year 1783, Lis fame may Le said to Le 
 estaLlisLed. In 1802, Le was summoned to Paris Ly tLe Emperor 
 Napoleon, wLose Lust Le modelled, and Le afterwards executed tLe 
 colossal statue of tLe Emperor, wLicL Las since Lecome tLe property 
 of tLe Duke of Wellington. In 1815, Le was again in France, with 
 tLe title and Lonours of amLassador from tLe Pope, to reclaim tLe 
 works of art wLicL Lad Leen carried off from Italy Ly tLe FrencL. 
 On tliis occasion Le visited England, and was consulted on tLe value 
 of tLe Elgin marLles. He received at tLe same time commissions 
 from tLe Prince Regent (George IV.), and from many of our noLility. 
 On Lis return, tLe Pope created Lim Marquis of Ischia. In tLe later 
 years of Lis life, Canova Lecame extremely religious, and devoted a 
 large portion of Lis fortune to tLe erection and decoration of a cLurcL 
 in Lis native village ; Le also modelled a colossal statue of Religion, 
 wLicL Le presented to tLe Pope, for tLe purpose of being placed in 
 St. Peter’s, at Rome. There was, however, something in the con¬ 
 ception of this statue which did not please, and the cardinals were 
 opposed to its being placed in the church. TLe sculptor, offended, 
 sold all his property in the Roman States, and withdrew to Venice, 
 where Le spent the rest of his life, occupied with the decoration of Lis 
 church at Possagno. He died at Venice in the year 1822. In the 
 beginning of this century, Canova’s reputation was unrivalled; Le 
 was styled the Phidias of Lis time ; Lut his claim to this supremacy 
 is now disputed. It is generally admitted that the want of severity 
 and purity of style in his classical subjects, and of deep feeling in 
 Lis religious works, place Lim on a lower grade than that which Le 
 held in Lis lifetime. His faults are a leaning to the picturesque and 
 sentimental, which degenerated in many instances into mannerism 
 and affectation ; Lis women never look modest, and Lis men scarcely 
 ever look manly. His chief merits consist in the softness and delicacy 
 with which Le worked the marble, and an attention to correct natural 
 forms which had not Leen usual in the artists of the last century. 
 By passing in review those of Lis works collected here (which are 
 among his most celebrated), and comparing them with those of others, 
 we shall perhaps Le able to arrive at a just appreciation of Lis genius. 
 They are all classical subjects (with one exception, the Magdalen). 
 The style, too, is what is usually called classical ,—a mingling of the 
 antique with the mannered sentimentalism of the Bernini school. 
 
 125. THE THREE GRACES. Group. Life size. 
 
 The Graces, styled by the Greeks the Charities, were three lovely 
 sister goddesses, whose names were Aglaia, Thalia, and Euphrosyne. 
 
CANOYA. 
 
 49 
 
 They presided over beneficence, good temper, and all the kindly 
 feelings, which express harmony of soul. They were the daughters 
 and constant attendants of Aphrodite (Venus), to show that beauty 
 should be accompanied, not only by grace of person, but grace of 
 mind ; and as grace of mind supposes a cultivated intellect, they 
 were the chosen companions of Apollo and the Muses, and were 
 worshipped in the same temple. We are told that in the earliest 
 times the Greeks represented the Graces or Charities as veiled, to 
 express their modesty, but afterwards to express their innate purity 
 and sincerity, they were required to have the attributes of innocence 
 and truth, that is, they were to be represented without any drapery, 
 disguise, or ornament of any kind. The observer will feel that 
 Canova has departed from the purity of sentiment suggested by 
 the exquisite Greek allegory ; that the expression of grace is here 
 outward rather than inward, and in fact verges on the conscious, 
 the artificial, and even the affected. The original marble group 
 was executed for the Empress Josephine, and after the overthrow 
 of Napoleon, was purchased by the Duke of Bedford. There are 
 many repetitions, one of them in possession of the Queen. 
 
 126. VENUS AND ADONIS. Group. Life size. 
 
 Without going into the famous allegorical myth of Aphrodite and 
 Adonis, which is of Asiatic origin, it is only necessary to recal 
 here the Greek legend. Venus, more properly Aphrodite, loved 
 the beautiful youth Adonis, and endeavoured in vain to detain him 
 in her arms from the chase, wherein he was killed by a wild boar. 
 The sculptor has represented the parting of the lovers : Adonis holds 
 the Goddess half embraced, while she seems to plead in vain. The 
 original marble group, a subject well suited to the genius of Canova, 
 and certainly one of his finest works, was executed for the Marchese 
 Berio of Naples, and after his death came into the possession of 
 Signor Favre di Ginevra, also of Naples. 
 
 127. ENDYMION. Statue. Life size. 
 
 He reclines sleeping, his dog watching at his feet. Endymion, according 
 to the Greek story, was a beautiful shepherd of Mount Latmos, and 
 beloved by Diana (or the Moon). Poetically, he is the personification 
 of sleep (which was the boon he required of Jupiter) ; his Greek 
 name, Endymion , signifies a being who comes gently over one; he 
 slumbered in the cave of Mount Latmos , which signifies oblivion, and 
 he was kissed by the rays of the moon. He is almost always repre¬ 
 sented, as here, by a beautiful youth in profound sleep. The original 
 marble, which is a late production of the artist, executed about 
 1820, is now in the possession of the Duke of Devonshire. 
 
 128. NYMPH WITH CUPID. Group . Life size. 
 
 Sometimes called “the Nymph awakened by Love.” A beautiful female 
 figure reclining on a couch appears to waken up to the sounds of the 
 lyre which Cupid is playing at her feet. This statue is especially 
 
50 
 
 MODERN ITALIAN SCULPTURE. 
 
 distinguished by that meretricious sentiment which was Canova’s 
 great fault. The original marble was executed for George IV., and 
 is now at Buckingham Palace. 
 
 129. PARIS. Statue. Heroic size. 
 
 Paris, the son of Priam, King of Troy and his wife Hecuba, was exposed 
 after his birth on Mount Ida, where for some years he lived as a 
 shepherd. In this character he was selected by the gods to adjudge 
 the golden apple, which was to be the prize of the fairest of the 
 goddesses; Juno, Minerva, and Yenus, entered the lists, and 
 Paris decreed the prize to Yenus, who promised him in return 
 the possession of the most beautiful woman in the world. With 
 her assistance, he carried off Helena : hence the siege of Troy, and 
 the destruction of the country and family of the ravisher. Paris is 
 here represented as the young shepherd of Mount Ida. He stands 
 in an easy elegant attitude, holding in his hand the fatal apple of 
 discord, and wearing the Phrygian cap. The faults of Canova 
 become merits in a subject like this, and the effeminate grace of 
 the figure well expresses the character of Paris as exhibited in Homer. 
 The original marble, ordered for the Empress Josephine in 1813, 
 was afterwards purchased by the King of Bavaria, and is now at 
 Munich. A repetition is in the possession of the Emperor of Russia. 
 
 130. TERPSICHORE. Statue. Life size. 
 
 The Muse who presided over dancing is here represented standing, holding 
 in her left hand the lyre, and in the other the plectrum, the 
 little instrument used to strike the chords. The fault of this 
 statue is that Canova, instead of giving us the Muse who inspired 
 “ the poetry of motion,” seems to have had a dancer for his model; 
 it is one of the coldest and most affected of his compositions. The 
 original statue, which was intended for the countess of Albany, is 
 now the property of Count Somariva, and, I believe, in his Yilla on 
 Lake Como. 
 
 131. YENUS LEAYING THE BATH. (Venus sortant du Bain.) 
 
 Statue. Life size. 
 
 This statue is also known as “the Yenus of the Pitti Palace.” She 
 stands holding up her drapery pressed to her bosom, and the head 
 turned to the left. A casket on the ground. This statue has been 
 criticised, and with reason, as much more like a fine lady, too conscious 
 of her undress, than as representing the Goddess. When the Yenus 
 de’ Medici was carried off from Florence by the French, this statue 
 had the honour of being placed on the empty pedestal; but on the 
 return of the divine occupant it was placed in the Pitti Palace, in 
 a room panelled with mirrors. There are repetitions of the Pitti 
 Yenus in the possession of the King of Bavaria, Lord Lansdowne, 
 and others. 
 
CANOVA. 
 
 51 
 
 132. VENUS. Statue. Life size. 
 
 The attitude slightly different from the last and with less drapery. The 
 casket is omitted. The marble is at Paris, and is one of Canova’s 
 finest works. 
 
 133. HEBE. Statue. Life size. 
 
 The goddess of eternal youth, and the cup-bearer of the gods, is repre¬ 
 sented here with the rase in one hand, and the cup in the other, 
 as about to pour out the nectar. No work of Canova has been 
 more admired, nor more often repeated in every form than this figure 
 of Hebe ; but like most of his works, it sins against pure taste, 
 and has too much the air of a young Bacchante. The original marble 
 was executed in 1796 for Count Albrizzi, of Venice; a repetition, 
 now in the possession of the Emperor of Russia, was executed for the 
 Empress Josephine ; another, slightly varied, for Lord Cawdor ; a 
 third for the Countess Guicciardini of Florence; a fourth for the 
 King of Prussia ; and there are innumerable copies. 
 
 134. PSYCHE. Statue. Life size. 
 
 Called the Psiclie Fanciulla. Psyche, who, according to the beautiful 
 Greek myth, is the personification of the soul, and whose emblem 
 was the butterfly, is represented here as a lovely, innocent maiden, 
 holding in her right hand a butterfly, which she places on the open 
 palm of her left hand, and seems to contemplate it with a sweet 
 thoughtfulness. This graceful statue is also a favourite work of 
 Canova’s, and has been often repeated. The original conception, 
 which was first modelled in 1789, was executed in marble for 
 Mr. Blundell; the same, or a repetition, was presented by Napoleon 
 to the Queen of Bavaria in 1807. There are innumerable copies. 
 Canova inscribed beneath this Psyche two lines from Dante :— 
 
 “Non v’accorgete voiche noi siam vermi 
 Nati a formar Y angelica Farfalla ? ” 
 
 Bethink ye not that we are only worms 
 Born to produce the angel butterfly ? 
 
 which fixes his intention as to the significance of the figure. 
 
 135. MARS AND VENUS. Group. Heroic size. 
 
 Amongst the ancient Greeks war was represented by two divinities ; 
 Athena or Minerva, represents thoughtfulness and wisdom in the 
 affairs of war, and protects men and their habitations during its 
 ravages. Ares, or Mars, on the other hand, the masculine per¬ 
 sonification, represents mere force ; he loves war for its own sake, 
 delights in the din of battle, the slaughter of men, and the destruc¬ 
 tion of cities. This fierce and gigantic, but withal handsome god, 
 
 e 2 
 
52 
 
 MODERN ITALIAN SCULPTURE. 
 
 loved, and was beloved by Aphrodite (Venus), and they are fre¬ 
 quently represented together. In this group, Mars, wearing his 
 helmet, and holding his lance, bids adieu to Venus, who endeavours, 
 and as it appears, not vainly, to detain him from the field of battle. 
 Such is the sentiment of the conception, which was intended to 
 represent Peace and War : it will be observed that the cornucopia 
 lies at the feet of Venus. The original marble was commanded 
 by George IV. as a memorial of the peace of 1816, and is now- 
 in Buckingham Palace. 
 
 136. DANCING GIRL. Statue. Life size. 
 
 Called in Italian “la Dansatrice she appears in the act of stepping 
 forward lightly and gaily, with her hands at her sides. The original 
 marble of this well-known statue was executed for the Empress 
 Josephine, and is nowin the possession of the Emperor of Russia. 
 (There is a third Dansatrice better than either of these, who, -with 
 the arms raised, and striking the cymbals, appears to be moving 
 to her own music ; this statue is not so -well known ; the original, 
 or a duplicate, belongs I think to Lord Londonderry.) All these 
 three dancers exhibit the same merits and the same faults ; they 
 are executed with consummate delicacy and finish, but remind us 
 too much of ballet dancers. 
 
 137. DANCING GIRL. Statue. Life size. 
 
 Called “La Dansatrice in riposo”—the dancer in repose. She leans 
 against a pedestal, with one finger on her lip, and a wreath 
 hanging on her left arm ; the original marble was executed for 
 Signor Domenico Manzoni of Forli. There are many repetitions and 
 copies. 
 
 13S. THE MAGDALENE. Statue. Life size. 
 
 A female figure, almost entirely undraped, in a half-kneeling, half-con¬ 
 templative attitude, holds a cross in her extended hands, and appears 
 to consider it with profound sorrow and repentance. The original 
 conception, one of the most admired and well-known of Canova’s 
 works, and a favourite with himself, was first modelled in 1796. 
 It was executed in marble in 1809, and became the property of 
 Count Somariva ; repetitions were executed for Prince Eugene and 
 others. The fault of this statue is the want of ideal individuality ; 
 it represents a penitent woman ; the sinner oppressed with the 
 sense of sin, rather than the redeemed saint; not therefore the 
 proper character of Mary Magdalene : but the pathetic beauty of 
 the conception has rendered it deservedly popular. 
 
 139. PERSEUS. Statue. Heroic Size. 
 
 Perseus, as conqueror of the Gorgon Medusa, whose head he holds up in 
 triumph. The original marble is now in the Vatican of Rome. 
 When the Apollo Belvedere was carried off to Paris, the Perseus 
 
CANOVA—DUPRE. 
 
 53 
 
 was placed upon its pedestal, and was belield with unbounded 
 enthusiasm and admiration. It is, however, one of the least suc¬ 
 cessful of Canova’s works, a mannered imitation of the Apollo, 
 without character, and without individuality; the same qualities 
 which rendered the statues of Paris and Adonis masterpieces, are 
 out of place in the conception of the heroic Perseus. 
 
 140. PERSEUS. Head of the above statue. 
 
 141. A FUNEREAL YASE, 
 
 This vase (on which is a portrait) was dedicated to the memory of an 
 Italian countess, and is, I think, in a church at Padua. It is not in 
 a high taste. 
 
 141.* POPE CLEMENT XIII. (Carlo Rezzonieo.) 
 
 The head of the grand colossal statue in St. Peter’s, at Rome. Exceedingly 
 fine, both as a portrait and a work of art. (See Portrait Gallery, 
 No. 194.) 
 
 141. f A SLEEPING LION. 
 
 One of the two lions on the tomb of the same Pope. This lion is justly 
 considered one of the grandest things which Canova ever produced. 
 
 Giuseppe Dint, of Novara, in Piemont. 
 
 142. THE MURDER OF THE INNOCENTS. Colossal Group. 
 
 The stern official commanded by Herod has seized a child by the leg, 
 and is about to tear him from his mother, who pleads distracted 
 at the feet of the murderer. Sacred subject, picturesque, and heroic 
 in style. 
 
 J. Dupiu£, of Florence. 
 
 143. THE DEAD BODY OF ABEL. Statue. Larger than life. 
 
 As a representation from nature, this statue has great merit, and it is 
 interesting as the first work of a young Florentine sculptor, whom 
 it raised to deserved reputation. He and his wife almost deprived 
 themselves of food in order to procure the material in which to 
 model it ; when exhibited, it was ordered by the Grand Duke (about 
 1846). 
 
54 
 
 MODERN ITALIAN SCULPTURE. 
 
 Abboistdio Saxgiorgio, born at Milan, in tbe beginning of this 
 century, of bumble but respectable parents, studied in tbe Academy 
 at Milan, where be was distinguished by bis talent and perseverance. 
 Tbe first work which obtained him celebrity was tbe group of “Peace 
 in her Car, drawn by six horses,” cast in bronze, and now surmounting- 
 tbe Arch of Triumph, at Milan. He has since executed some admir¬ 
 able works, and is generally regarded as the greatest sculptor of tbe 
 North of Italy. 
 
 144. CASTOR, AND POLLUX. Two Colossal Equestrian Statues, 
 Bronze. (From the Gates of tbe Royal Palace at Turin.) 
 
 These twin demigods, whose worship was so widely diffused in the antique 
 time, were two heroic brothers, the sons of Leda and Tyndarus, who 
 reigned over Sparta, and brothers of the too famous Helen. According 
 to the poets they were sons of Jupiter. Their fraternal love, their 
 prowess, and their adventures, are of constant recurrence in the old 
 Greek and Roman myths, and they figure most conspicuously in 
 ancient art. They were the companions of Orpheus, Jason, Hercules, 
 and the other famed worthies of the Argonautic expedition, but had 
 disappeared before the siege of Troy; and when translated to the 
 skies, they received divine honours, and were placed among the stars 
 as the constellation Gemini. They were styled ‘ ‘ the mighty helpers 
 of men.” They protected all wayfarers by land and sea. 
 
 ‘ ‘ Back comes the chief in triumph, 
 
 Who, in the hour of fight, 
 
 Hath seen the great twin brethren 
 In harness on his right! 
 
 Safe comes the ship to haven, 
 
 Through billows and through gales, 
 
 If once the great twin-brethren 
 Sit shining in the sails.” 
 
 They were benign and propitious beings, but warlike ; tamers of 
 horses, irresistible in might, and punishing all violations of faith and 
 hospitality. They were especially honoured at Sparta, where they 
 were born and reigned, and at Rome, which they saved in the Tar- 
 quinian wars. Every one who has been at Rome will remember the 
 colossal effigies of the “Great Twin Brethren,” on Monte Cavallo ; 
 and every reader of Macaulay will recollect the glorious vision of the 
 Dioscuri in the Battle of Lake Regillus:— 
 
 ‘ ‘ So spake he, and was buckling 
 Tighter black Auster’s band, 
 
 When he was aware of a princely pair 
 That rode at his right hand. 
 
 So like they were no mortal 
 
 Might one from the other know ; 
 
 White as snow their armour was, 
 
 Their steeds were white as snow. 
 
SANGIORGIO—MONTI. 
 
 55 
 
 Never on earthly anvil 
 
 Did such rare armour gleam, 
 
 And never did such gallant steeds 
 Drink of an earthly stream.” 
 
 They •were always represented together on the coins of Sparta, 
 Syracuse, and Rome, and the manner of representation was nearly 
 the same—exactly alike, mounted on celestial chargers, wearing 
 a kind of egg-shaped cap, which is surmounted by a radiant star. 
 The Castor and Pollux on the Monte Cavallo are, however, bare¬ 
 headed. The correct classical type has been followed in these 
 statues, which are very grand, calm, and godlike, and finely exe¬ 
 cuted. 
 
 145. THE PRODIGAL SON. Statue. Life size. 
 
 He is seated, in an attitude of sorrow, looking up,—one of the swine at 
 his feet. The sentiment is, “I will arise and go to my father.” 
 This statue was executed in marble for the late Emperor of Austria, 
 in 1840. Sacred subject. 
 
 Pietro Magni, of Milan, a pupil of Sangiorgio. 
 
 146. DAYID. Statue. Life size. 
 
 In the act of slinging the stone which slays Goliath. Very spirited and 
 natural in attitude and expression. 
 
 147. A GIRL SEWING. Statue. 
 
 148. THE FIRST STEPS, OR THE ITALIAN MOTHER. 
 
 Small Group. 
 
 A woman, in the costume of a Lombard peasant, is guiding the steps of 
 her child. These figures, and others by Rosetti, Strazza, &c., 
 illustrate the tendency to what we call naturalism in the modern 
 Milanese school. 
 
 Raphael Moxti, born at Milan, in 1818, studied under his father, 
 Gaetano Monti, of Ravenna, also a celebrated sculptor; and in the 
 Imperial Academy at Milan, where be gained the first prize, the gold 
 medal, for a group of “Alexander taming Bucephalus.” He was 
 afterwards invited to Yienna, where he spent three years, and 
 executed many works for the Court and nobility. In 1842 he 
 
56 
 
 MODERN ITALIAN SCULPTURE. 
 
 returned to Milan, and in 1847 visited England, for tlie first time. 
 He Las since been much patronised in this country, and has executed 
 several beautiful works, which were in the Great Exhibition of 1851. 
 Monti is a sculptor of eminent talent, with that tendency to the 
 romantic and picturesque in style, which distinguishes the modern 
 Milanese School of Sculpture. 
 
 149. ITALY. Allegorical Statue. Colossal. 
 
 A grand female figure, crowned with laurel, holding in her right hand 
 the laurel wreath of victory ; in the left the chisel, the pencil, the 
 architects’ roll ; at her feet the lyre, the cornucopia teeming with 
 fruits, and the cocoons of the silk-woi*m. 
 
 150. VERITAS. (TRUTH.) Statue. Small life size. 
 
 This statue is very cleverly conceived and delicately executed, hut it is 
 open to objections in point of taste. In the first place, the conception 
 has an ambiguity which does not well express the singleness, the 
 simplicity, and purity of abstract truth. Truth thus coquettishly 
 unveiling herself, half arrayed, half disarrayed, comes near to 
 falsehood. It is in vain to say that to mortals truth is never wholly 
 —only partially revealed, dimly descried, and so forth ; a statue 
 conceived with reference to such a witty and fanciful significance, 
 may have the merit of a concetto , but wants the higher merit of 
 a grand and poetical idea. Secondly, the dexterity and elegance 
 with which the effect of transparency is worked in the solid marble, 
 might be captivating and surprising, as a novelty, but will not bear 
 repetition, for all attempts at mere literal, illusive imitation, is 
 beneath the dignity of sculpture. Here the imitation of trans¬ 
 parent white muslin has the same effect to the eye of a person of 
 taste and feeling, that a pun would have in a passage of serious 
 poetry ; it amuses where we ought not to be amused. The imitation 
 of transparent drapery in marble was carried to perfection, if not 
 invented, by Antonio Corradini, a Venetian, about 1730 ; he devoted 
 himself especially to this attractive but tasteless illusion. His statue 
 of the dead Redeemer in the chapel of San Severino, at Naples, is in 
 this respect wonderful: the figure lies covered wholly by a transparent 
 veil, through which the whole outline and features are visible and 
 defined ; but to amazing technical skill this statue adds a mystical 
 pathos and a grace in the conception which adds to the effect of the 
 surprise : when, however, the manner of executing this is under¬ 
 stood, the wonder ceases. No one better than Monti (himself a 
 most accomplished sculptor) knows the little value to be attached to 
 this kind of excellence. 
 
 150* EVE. Statue. Life size. 
 
 She is seated on a flowery bank, in a disconsolate attitude, after the Fall, 
 the head declined in sorrow and repentance—the fatal apple at her 
 
MONTI—RINALDI—ROSSETTI. 
 
 57 
 
 feet; and on one side a little cherub head looking up at her with 
 pity. Full of poetical feeling and profound sentiment, and most 
 admirably executed. The original marble is in the possession of 
 H. W. Eaton, Esq. 
 
 <By Monti are also the two fountains in the north nave, with figures of the 
 four races of men, in a very large, noble, and poetical style, and six 
 colossal figures on the Upper Terrace.) 
 
 Giuseppe Obici, of Modena. He was sent by the Duke of Modena 
 to study at Carrara, and afterwards at Rome, under Tenerani. 
 
 152. MELANCHOLY. Statue. Life size. Marble. 
 
 A female figure standing with her head declined, the arms hanging 
 down, with the fingers intertwined with a languid negligence ; the 
 drooping of the whole form is expressed with much sentiment and 
 elegance. 
 
 Rinaldo Rinaldi, a native of Padua; after receiving his first 
 education as an artist in the Academy at Venice, he received the 
 highest prize, and was sent with the usual pension to Rome. He was 
 received into the studio of Canova, and became one of his favourite 
 assistants and pupils. Rinaldi is at present Professor of Sculpture in 
 the Academy of St. Luke, at Rome. His style is that of his master, 
 Canova. 
 
 153. EYE. Statue. Life size. 
 
 She stands, with head declined, lamenting her irreparable fault; the 
 serpent and the bitten apple lie at her feet. 
 
 154. MELPOMENE. Statue. Life size. 
 
 The Muse of Tragedy ; the head has the look of a portrait, and the whole 
 treatment is conventional, and without expression in the head, or 
 dignity in the figure. 
 
 155. HOPE. Statue. 
 
 Leaning on her anchor, in the common-place emblematical style. 
 
 Giovanni Rossetti, of Milan. 
 
 156. ESMERALDA. Statue. Life size. 
 
 She is seated ; her favourite attendant, the white goat, climbs to her 
 knee ; at her side is her tamborine, and on it the cards with which 
 
58 
 
 MODERN ITALIAN SCULPTURE. 
 
 she tells fortunes. The beautiful Gypsy girl is the heroine of 
 Victor Hugo’s celebrated Romance of ‘ ‘ Notre-Dame.” 
 
 157. GREEK SLAVE. Statue . Life size. 
 
 A female figure partially draped, seated in a melancholy attitude with 
 eyes cast down. The head-dress, and the coins hung round her neck, 
 are true to the modern Greek costume ; the figure is very unaffected, 
 elegant, and expressive of the situation. Picturesque style. 
 
 Steazzi Steazza, of Milan. All the works of this artist are in 
 the picturesque style, and distinguished by a too close and literal 
 imitation of common nature in form and expression to rank high as 
 sculpture. 
 
 158. THE MENDICANT. Statue. Small life size. 
 
 A kneeling beggar-girl; the sentiment very natural and too real. 
 
 159. AUDACITY. (VAudace.) Statue. Small life size. 
 
 It is rather Temerity , represented by a boy in the dress of a Neapolitan 
 fisherman, in act to draw the fusee from a bomb which is about to 
 explode ; his half crouching attitude shows that he is sensible of 
 the danger, but reckless of it. 
 
 160. ISHMAEL. Statue. Life size. 
 
 He lies extended on the earth, fainting with tbirst, the empty cup in 
 one hand. The forms are not sufficiently beautiful for sculpture. 
 Ishmael had not been so long exposed to want that he should be thus 
 attenuated. 
 
 161. THE PERI. Statue. Life size. 
 
 She is seated in a disconsolate attitude before the gate of Eden. 
 
 * ‘ How happy, exclaimed this child of air, 
 
 Are the holy spirits who wander there, 
 
 Mid flowers that never fade or fall! 
 
 Tho’ mine are the gardens of earth and sea, 
 
 The stars themselves have flowers for me— 
 
 One blossom of heaven outblooms them all.” 
 
BL AESER—BRU GGER. 
 
 59 
 
 GERMAN SCULPTURE. 
 
 \* The names of the artists are arranged alphabetically. 
 
 G. Blaeser, of Berlin. This Sculptor is a pupil of Ranch, and 
 one of his assistants in executing the models for the great monument 
 to Frederic the Great. (See No. 195**.) 
 
 162. MINERVA PROTECTING A WARRIOR. Group. Small 
 
 life size. For the Castle Bridge, Berlin. 
 
 163. A CHILD CHRIST. Statue. Life size. (Designed for the 
 
 Royal Christmas Tree.) 
 
 According to a popular superstition in Germany and other Catholic 
 countries, the Infant Christ descends from heaven on Christmas Eve 
 to bring gifts to good children. This little figure is merely a 
 picturesque fancy, and will not hear criticism of any kind. 
 
 Friedrich Brugger, of Munich, studied under Schwanthaler. 
 
 164. THE CENTAUR CHIRON INSTRUCTING THE YOUNG 
 
 ACHILLES. Small Group. 
 
 The Centaur reclines on the earth, while the young Achilles, seated on 
 his hack, attempts, under his tuition, to touch the lyre. Chiron, a 
 Centaur, half man and half horse, was celebrated for his wisdom and 
 justice, for his knowledge of music, medicine, and archery, in which 
 he instructed the heroes and demigods of his time—Hercules, 
 Esculapius, Jason, and Achilles. He first taught men the use 
 of medicinal herhs. Chiron teaching Achilles either to hend the 
 how or touch the lyre has always been a favourite subject in Art, 
 as expressing Education. Classical and elegant. 
 
 165. PENELOPE. Statue. Small life size. 
 
 The wife of Ulysses holds the shuttle in her hand, in allusion to the 
 
60 
 
 MODERN GERMAN SCULPTURE. 
 
 web or shroud she had undertaken to finish before she accepted 
 any one of her suitors ; but being resolved to defer this as long as 
 possible, she unravelled at night the work she had done in the day: 
 hence we compare any interminable work to “Penelope’s web.” 
 Classical, but somewhat cold and conventional. Compare with 
 No. 82. 
 
 Heinrich von Dannecker, born in 1758, atStutgardt, the capital 
 of Wurtemburg. In those days it was the fashion to study sculpture 
 in the ateliers of Paris, and Dannecker entered that of Pajou, which 
 was then considered the best. Afterwards he went to Rome for a 
 short time, and returning to his native city, passed the rest of his life 
 in the tranquil pursuit of his art. He was of a spirit so serene and 
 religious that Canova, who visited him in his old age, called him 
 II Beato —the Blessed. He [was much patronised and favoured by 
 his own sovereign ; he was the first sculptor in Germany who departed 
 from the mannerism of the 18th century, and elevated his art by 
 a study of truth and nature. His fame rests chiefly on his two 
 statues, the “Ariadne on the Panther,” at Frankfort, so well known 
 from the innumerable small copies ; and the statue of “ Christ,” which 
 was executed for the Empress of Russia. He died in 1841. 
 
 166. HECTOR. Statue. Larger than life. 
 
 The Hero is represented in the act of reproaching Paris with his negligence 
 and effeminacy. 
 
 41 A spear the hero bore of wondrous strength, 
 
 Of full ten cubits was the lance’s length. 
 
 ***** 
 
 Thus entering in the glittering rooms he found 
 His brother-chief, whose useless arms lay round. 
 
 Him thus inactive, with an ardent look 
 The Prince beheld, and high resenting spoke.” 
 
 This is the original model of the statue which was executed about 
 1795. Classical and heroic. 
 
 167. A NYMPH. Statue. Larger than life. 
 
 She kneels on one knee, bending to fill her urn from the stream ; the 
 figure decorates a fountain at Stutgardt. 
 
DANNECKER—DRAKE—GEBHARDT—HAHNEL. 
 
 61 
 
 Friedrich Drake, a native of Pyrmont, in the north of 
 Germany, studied in the atelier of Rauch, in Berlin, where he has 
 produced some admirable works. His small portrait statues (full 
 of life and character) of Schiller, Rauch, Wilhelm and Alexander 
 von Humboldt, &c. have become popular in Germany. 
 
 168. A GIRL BEARING FRUIT. Colossal Statue. 
 
 This statue was executed to ornament the public garden at Charlotten- 
 burg, near Berlin. It has great merit in the appropriate style of 
 the conception and treatment,—large in the forms and outline so as 
 to strike in the open air, —picturesque and luxuriant in style. 
 
 169. YASE. Colossal. (From the Public Garden, Berlin.) 
 
 Adorned with about 22 figures in rather high relief, representing a series 
 of festive groups engaged in rural enjoyments ; children sporting ; 
 maidens and youths conversing ; age reposing ;—full of animation 
 and variety of character and attitude, and admirably executed, in 
 that florid picturesque style befitting the purpose of the vase, which 
 ornaments a public garden. 
 
 — Gebhardt. (AVe have no particulars of this Sculptor.) 
 
 170. POMONA. Statuette. 
 
 Ernest Hahnel, Professor in the Academy of the Fine Arts at 
 Dresden. Studied first as an architect at Munich ; was then a pupil 
 of Schwanthaler; being called to Dresden at the time Professor 
 Semper was building the splendid theatre there, he executed under 
 the direction of that eminent architect some of the decorative friezes 
 for the exterior, and four of the statues for the interior,—those of 
 Euripides, Aristophanes, Shakspeare, and Moliere. 
 
 171. MEDICINE. Statue. Small life size. 
 
 An allegorical figure, enthroned, crowned with laurel, holding in her right 
 hand the serpent feeding from the cup (which is the Greek attribute 
 of Hygeia, or Health), and in her left a book and roll of paper. 
 Executed in marble, in 1847. 
 
 172. A BACCHANAL. Alto-relievo. Life size. 
 
 Two centaurs sound their shell-trumpets, and a female centaur follows, 
 bearing a faun on her back. These groups form part of a frieze, 
 nearly one hundred feet in length, which decorates the north facade 
 
62 
 
 MODERN GERMAN SCULPTURE. 
 
 of the Theatre at Dresden, representing Hercules subjected by 
 Omphale, and borne along in triumph, accompanied by the Muses, the 
 Graces, and the Bacchanals ; (that is, Power, or Strength, subjugated 
 and carried away by Love, Music, and Joy, a beautiful and very 
 appropriate decoration for a theatre). Classical, and very spirited in 
 treatment. 
 
 Johann Haleig, of Munich ; a pupil of Schwanthaler. 
 
 173. FRANCONIA. Colossal Statue. (In the Befreiungs Halle at 
 
 Kelheim.) 
 
 A colossal allegorical figure, representing Franconia (in German, Franken); 
 she is a German maiden, crowned with the oaken garland, and sus¬ 
 taining, with both hands, a tablet, on which is her name. Franconia 
 is a large and important district of Bavaria, and this statue was 
 dedicated, at the time that the canal was opened which unites the 
 Danube with the German Ocean. 
 
 Schmidt yon dee Latjnitz, a native of Conrland, in North 
 Germany ; horn about 1795. He studied at Rome under Thorwaldsen, 
 and at present resides and practises his art at Frankfort. He is much 
 distinguished in his own country, and has the rank of Baron. 
 
 174. ERATO. Statue. Small life size. 
 
 The Muse who presides over song is here tuning her lyre. Classical style. 
 
 175. JOHAN GXJTTENBERG. Monumental Group. 
 
 This memorial to the inventor of printing, who died in 1467, was erected 
 at Frankfort; on each side are his companions and assistants, Faust 
 and Scheffer. 
 
 Johan Eenst Mayee, Professor of Sculpture at Munich; born at 
 Ludwigsburg, 1776. He had already attained a reputation in Munich, 
 when late in life he went to Rome, and studied in the atelier of Thor¬ 
 waldsen. He has since been employed at Munich, in the decoration of 
 churches and palaces, and has a distinguished reputation in his own 
 country. 
 
 176. HOMER. Statue. Life size. 
 
 He is enthroned as poet, and striking his lyre. 
 
MAYER—MULLER—NEUHAUSER—RAUCH. 
 
 63 
 
 177. THUCYDIDES. Statue. Life size. 
 
 Enthroned as historian, and holding his writings. 
 
 These fine seated figures were placed at the entrance of the Public Library 
 at Munich in 1839. 
 
 Mijller, of Berlin ? 
 
 178. A GUARDIAN ANGEL. Statuette. 
 
 The angel, an elegant and dignified figure, seems with outstretched arm 
 to ward off temptation or wrong, and with the other sustains a little 
 girl, who clings to her protector. 
 
 Franz Nehhauser. (We have no particulars relative to this 
 Sculptor.) 
 
 179. MERCURY AND A LITTLE SATYR. Bas-relief. 
 
 Very classical, playful and elegant. 
 
 Christian Rauch, of Berlin, horn 1777, at Arrolsen, in the 
 Waldeck. He studied first under Professor Ruhl, of Cassel, and in 
 1797 repaired to Berlin, where he entered the service of Queen Louisa 
 as chamberlain. His turn for art was, however, so decided, that he 
 employed every leisure moment in study ; and at length in 1804, re¬ 
 paired to Rome, where Wilhelm von Humboldt, then Prussian minister, 
 encouraged him by his friendship and assistance. He studied under 
 Canova and Thorwaldsen, and in 1811 was called to Berlin to execute 
 the monumental statue of Queen Louisa, a work of the highest beauty. 
 He returned to Rome with a high reputation, and continued to prac¬ 
 tise his art there till the year 1822, when he fixed his atelier in 
 Berlin, and has since resided there. No modern sculptor enjoys a 
 higher or more universal reputation. Though Rauch has executed 
 great works in every class of art, he is chiefly celebrated for his 
 portrait and monumental statues ; and a list of his works would com¬ 
 prise the names of the greatest military and literary characters of his 
 time and country. In his own country the statues of Blucher and 
 Schornhorst, two heroes of the late war; of Luther, Albert Durer, 
 Schiller, Goethe, Schleiermacher—attest his excellence in this style 
 
64 
 
 MODERN GERMAN SCULPTURE. 
 
 of sculpture. The last great work of this gifted and inexhaustible 
 sculptor, is the magnificent monument to the glory of Frederick t|ie 
 Great. A small model of the entire monument, and casts from several 
 of the historical bas-reliefs which adorn it, are in this collection, and 
 will be noticed in detail in the proper place. Christian Rauch is still 
 living. He visited England in 1850, and was received with the 
 honours due to him. 
 
 180. A CHILD PRAYING. Statue. Life size. 
 
 A girl about eleven years old, undraped, and standing in the antique 
 attitude of prayer ; an obvious imitation of the famous bronze of ‘ ‘ the 
 praying boy” at Berlin. This was an early work of the sculptor, 
 executed when he first went to Rome (about 1809). 
 
 181. A BOY HOLDING A BOOK and 182. A BOY HOLDING 
 A SHELL. Two Statues. Small life size. 
 
 The figures form a pair, and appear a to be intended for a school or college ; 
 the first reads from his book ; the second appears about to drink from 
 a stream—the stream of knowledge. Picturesque and elegant. 
 
 183. A DANAIDE. Statue. Life size. 
 
 A nymph, standing, holds a vase in an easy attitude, as if emptying it. 
 According to the Greek legend the Danai'des were the fifty daughters 
 of King Danaus, who all (except one) slew their husbands, and were 
 punished in Hades, by being doomed to draw water everlastingly 
 in vessels full of holes; but there is another Greek legend, which 
 represents four of the Danaides as the divinities of the fountains 
 which supplied Argos with water. This statue appears to represent 
 a Danaide in this character, for a vessel full of holes would not need 
 to be emptied. The original marble was executed for the Emperor of 
 Russia, and stands in a garden or conservatory. Classical style. 
 
 184. A VICTORY. Statue. Life size. 
 
 Crowned with laurel, and holding a branch of laurel. 
 
 185. A VICTORY. Statue. Life size. 
 
 Crowned with olive, and holding the olive-bough. 
 
 186. A VICTORY. Statue. Life size. 
 
 Crowned with oak, and holding the bough of oak. (The oak is the 
 symbol of Germany). 
 
RAUCH. 
 
 65 
 
 187. A VICTORY. Statue. Life size. 
 
 Lifting the laurel crown from her own brow, as if in the act to bestow it 
 on a victor. 
 
 188. A VICTORY. Statue. Life size. 
 
 Holding the palm branch, and stepping forward. 
 
 These five noble and poetical figures were executed by Rauch for the 
 Valhalla, or “Temple of Fame,” near Ratisbon. 
 
 189. A VICTORY. Statue. Life size. 
 
 Seated on a throne, and in the act to distribute crowns of laurel. 
 
 189*. PUBLIC HAPPINESS. Statue. Life size. 
 
 A female figure standing, and bearing a cornucopia. Classical, and rather 
 conventional in style. 
 
 190. THE MAIDEN ON THE STAO. Statuette. 
 
 (Styled in German “Die Jungfrau Lorenz von der Tangermunde.”) 
 
 The subject of this popular and elegant statuette (which is known from 
 one end of Europe to the other by repetitions, in alabaster, bronze, 
 and porcelain), is taken from a legend of the little town of Tangermunde, 
 in Brandenburg, to the north-west of Berlin. The story relates how 
 a young maiden, who dwelt in Tangermunde, and whose name was 
 Lorenza, went forth one Sabbath morn, at break of day, to gather 
 flowers in the woods, wherewith to weave a gai'land to crown the 
 figure of the dying Saviour which stood in her church; “for,” 
 said she, ‘ ‘ the flowers of the garden are all too gay and too proud, 
 but the lowly field flowers, so dewy and modest, and sweet, are 
 fitter far to cool and heal that bleeding brow !” So she hied to 
 the green wood, plucking the flowers, and weaving her garland as 
 she went; but heedless as she wandered on and on, she strayed from 
 the path, and lost herself in those tangled shades. Being now 
 afraid, she hurried to the right and to the left, still more and 
 more bewildered, and at last, as night drew on she laid herself down 
 weeping, and slept. But all through the dark hours an angel 
 watched her ; and the next morning, when she waked from sleep, 
 she saw before her a stag, which, bending its antlered head, licked 
 her hands and feet, and she vaulted on his back, and the stag 
 carried her safely through the forest, and through the city gates, 
 and through the crowds of people who came to behold this wonder, 
 and set her down at the door of the church. When he had done 
 
66 
 
 MODERN GERMAN SCULPTURE. 
 
 so, lie sprung forth, to his native woods again, and was seen no 
 more. And the maiden, praising and thanking God for her deliver¬ 
 ance, entered the church and hung her garland on the image of the 
 Redeemer. This pretty statuette is in the poetic-picturesque style. 
 
 191. AN EAGLE. Statue. Life size. 
 
 When Rauch was at Carrara, modelling his statue of Queen Louisa, a 
 magnificent eagle was brought to him in a wounded state ; he modelled 
 it from nature, and placed it at the feet of the queen as she lies 
 on her bier. It is perhaps the finest thing of the kind ever 
 executed. 
 
 192. FOUR LONG BAS-RELIEFS. 
 
 Representing the march from Berlin to Paris, in 1815. From the tomb 
 of Marshal von Bulow. The figures represent groups of soldiers in 
 the Prussian uniform—marching, or at rest; feasting, drinking, 
 bivouacking, &c.—very much crowded, and in the picturesque 
 historical style. 
 
 193. AN EAGLE. Bas-relief. (See 191). 
 
 Also from the monument erected to Field-Marshal von Bulow. 
 
 193*. TWO STAGS. Recumbent. 
 
 From the entrance to the public gardens at Berlin. 
 
 193**. TWO YOUTHS, OR STUDENTS. Bas-relief. 
 
 From the monument of Field-Marshal von Schornhorst. 
 
 194. SMALL MODEL OF THE MEMORIAL ERECTED TO 
 
 FREDERIC THE GREAT. 
 
 195. EQUESTRIAN STATUE OF FREDERIC THE GREAT, 
 
 KING OF PRUSSIA. The original life size model for the 
 Colossal bronze statue. 
 
 195*. THE CARDINAL YIRTUES. Four seated statues. 
 
 Placed at the angles of the pedestal (A) Prudence, with her mirror ; (B) 
 Temperance, with the curb ; (C) Justice, with her sword ; and 
 (D) Fortitude or Courage, with her club. 
 
RAUCH. C7 
 
 195**. THE HISTORY OF FREDERIC THE GREAT. A series 
 of Eight subjects in Bas-relief \ round the monument. 
 
 All these form part of the great monument lately erected in a fine 
 situation in Berlin, the space surrounded by the Royal Palaces, 
 Arsenal, Museum, Theatres, and principal public walk, and visible 
 from them all. Any remarks on the life and character of Frederic 
 the Great would be out of place here, and belong to another depart¬ 
 ment, that of the Gallery of Portraits (see No. 376). In reference to 
 the splendid memorial we are now to consider, the observer must 
 remember that it was this Monarch who won for Prussia that high 
 political and military position which, since his reign, bub not before, 
 she has held in Europe, and that this magnificent and costly 
 monument may be regarded as well deserved; as an expression of 
 gratitude from the nation which, notwithstanding his long and 
 terrible wars, he left powerful, aggrandised, and enriched ; under 
 this point of view it is an appropriate ornament of the capital of 
 Prussia. 
 
 The monument had long been projected by the late King, Frederic 
 William III., and in 1830 the design was entrusted to Professor 
 Schinkel, the architect, and Professor Rauch, the sculptor; the 
 model for the whole was finished in 1839. The colossal model for 
 the figure of the King on horseback, was executed in 1842, and was 
 successfully cast in bronze in 1846. By the end of the year 1850, 
 the bas-reliefs and insulated statues grouped round the base were 
 finished ; and in May, 1851, the monument was completed, and 
 inaugurated with military pomp and festive rejoicings, and much 
 national exultation. 
 
 It will be seen, on reference to the small model, that the pedestal is formed 
 of three compartments, rising one above another. The basement is 
 composed of mighty blocks of granite. On this is raised a pedestal 
 of bronze, round which are grouped the statues of those men who 
 were distinguished in the diplomatic, military, and civil service ; 
 they are twenty-four in number, of which the four at the corners 
 are equestrian. The groups on each side comprise the military chiefs; 
 those at each end, the ministers, judicial functionaries, and literary 
 men. All these statues are cast in bronze, and are careful portraits 
 of the personages represented. Above this rises another pedestal; at 
 the four corners are the four seated Cardinal Virtues (above described). 
 The sides, and two ends, are occupied by a series of bas-reliefs, 
 which illustrate the history of the King. He himself appears on 
 the summit of all, mounted on his charger, and every detail of his 
 person and dress accurately copied from the life. Nothing is idealised, 
 but the whole is so arranged as to produce a most admirable and 
 imposing effect. The model of the equestrian statue of the King, 
 which though as large as life, is much smaller than the bronze, as 
 well as the four seated Virtues, which are somewhat conventional 
 in treatment and application, having been noticed, it only remains 
 to describe and explain the series of eight bas-reliefs illustrating the 
 life and character of the King :— 
 
 E. Represents the birth of Frederic, who is presented by a good genius 
 to his parents. 
 
 f 2 
 
68 
 
 MODERN GERMAN SCULPTURE. 
 
 F. The Muse of History instructs him, and rouses his ambition by 
 
 unfolding the names and the deeds of the heroes of old. 
 
 G. He receives his first arms from Pallas. 
 
 H. He is examining the web of a weaver of Silesia (famous for its linens). 
 
 This subject expresses his encouragement of manufactures. 
 
 I. In the next he is leisurely playing the flute. Frederic not only 
 
 patronised music, but was himself an excellent performer on the 
 flute. 
 
 K. He is seated in his cabinet at Sans-Souci : an attendant places before 
 
 him the celebrated bronze statue of the “Praying Boy,” for which he 
 paid a sum amounting to 5,000Z., and which is now a principal 
 ornament of the Museum at Berlin. (See No. in Greek Court.) 
 The subject expresses his patronage of the fine arts ; the greyhounds 
 at his feet are also characteristic. 
 
 L. The bas-relief at the south end represents the King seated on the 
 
 column at Kulmbach, and meditating on the vicissitudes of war. 
 
 M. That on the east represents his apotheosis, where, seated between the 
 
 wings of an eagle, he is borne into the regions of immortality. 
 
 The treatment of some of these subjects is open to criticism; for instance, 
 the incongruous mingling of the purely ideal with the most matter- 
 of-fact reality ; as where the Muse, Clio, draped 4 l’antique, is 
 instructing the little prince, in coat and waistcoat; and Pallas 
 Athene presents a sword to a young soldier in a cocked hat and 
 gaiters ; all this is in very questionable taste. But the monument, 
 taken altogether, is very grand ; and the difficulties overcome have 
 been immense. 
 
 Eekest-Feedeeic-Au&usttjs Rietschel, born at Pulsnitz, a 
 little town in Saxony, in 1804. He studied drawing in the Academy 
 at Dresden, and at the age of twenty entered the atelier of Rauch, at 
 Berlin, who soon discovered and appreciated his uncommon talent. 
 In his twenty-fourth year he gained the Great Prize, and was sent to 
 Rome where he studied about a year. In 1832, he was appointed 
 Professor of Sculpture in the Academy at Dresden. Rietschel has a 
 great reputation; his principal works are at Dresden and Munich. 
 
 196. A “PIETA.” Group. Life size. 
 
 The ll Pieta ” is the title, in Italian art, given to a group which represents 
 the dead Saviour after he has been taken down from the cross, 
 mourned by his mother the Virgin Mary, or by angels. In this 
 conception of the subject, Christ is extended on the earth, in front; 
 while his mother, kneeling, bends over him, mournful, yet resigned. 
 Pathetic and religious treatment. 
 
 197. CUPIDS RIDING ON PANTHERS. Two has reliefs. 
 
 A. In the first, Cupid is carried off by the Panther B. In the second, 
 he has subdued the animal nature, and rides him in triumph. Both 
 very significant and graceful compositions. Classical style. 
 
RIET8CHEL—SCHLOTTAUER—SCHWANTHALER. 
 
 69 
 
 198. THE CHRIST-ANGEL. [Christ-eng el.) Bas-relief. 
 
 This beautiful composition expresses the belief popular in Germany and 
 other countries, that on Christmas-eve the Infant Christ descends 
 from Heaven, accompanied by angels, to bless pious little children, 
 and bring them presents. 
 
 199. MORNING, NOON, NIGHT, DAWN. Four bas-reliefs. 
 
 A. The Dawn, a Genius with eyelids half unclosed, holds a torch reversed, 
 the bat under his feet. B. Morning, a Genius holding his torch on 
 high, has the owl beneath his feet, the lark rising at his side. 
 C. Noon, holds a garland of flowers, chasing a butterfly. D. 
 Night, a Genius holding in one hand the sleep-bestowing poppies, 
 while with the other he draws the mantle of concealment over his 
 head. 
 
 200. LESSING. Colossal Statue. 
 
 Cast in bronze, and erected in 1851, to the honour of the great German 
 author in his native city of Brunswick. He is represented in the 
 dress of his time. Portrait statue in the picturesque style, most 
 remarkable for the noble and easy grace with with the difficult 
 costume is managed. (For an account of Lessing, see Portrait 
 Gallery, No. 335). 
 
 — Schlottauer, of Munich. 
 
 201. A MADONNA. Statue. Life size. 
 
 She is standing in an attitude of devotion, crowned as Queen of Heaven ; 
 and trampling on the serpent, the emblem of sin. 
 
 — Steihhauser. 
 
 201*. A YIOLIN PLAYER. Statue. Small life size. 
 
 Ludwig (Louis) Schwahthaler belongs to a family who have 
 followed the profession of sculpture in stone or wood for nearly 200 
 years; his father, his two uncles, and a cousin, have all been sculp¬ 
 tors ; but whatever reputation these may have merited, has been 
 merged in the brilliant and extended fame of the great artist whose 
 works here we have to review. He was born at Munich, the capital 
 of Bavaria, in 1802. His life was unmarked by vicissitudes of any 
 kind. .Educated in his father’s studio he had not to struggle with 
 difficulties; the very atmosphere he breathed from infancy was in 
 harmony with his genius; he received an excellent literary and 
 classical training, and was an accomplished scholar as well as an 
 
70 
 
 MODERN GERMAN SCULPTURE. 
 
 accomplished artist. He was twice at Rome, in 1825 and 1832-3, 
 but spent not more than three years altogether in that city. He fixed 
 his residence at Munich, where he became Professor of Sculpture in 
 the Academy, and assembled round him a vast number of scholars and 
 assistants, who executed wholly or in part the creations which teemed 
 from his versatile and inexhaustible genius. He drew and modelled 
 with wonderful rapidity and correctness, but with a perfect under¬ 
 standing of the spirit and capabilities of his art; his facility has 
 never betrayed him into common-place. In every style he displayed 
 the same richness of invention, and the same inexhaustible variety; 
 his bas-reliefs from the Greek mythology and the Greek dramatists 
 are in the purest classical taste; his religious and historical monu¬ 
 ments are equally admirable. He treated the old mediaeval church 
 legends,—as the story of St. George and the Dragon,—St. Dorothea, 
 &c.,—not with the gothic formality, but in a peculiarly poetical spirit; 
 and the style which we may call the romantic and chivalrous, he 
 brought within the true limits of sculpture. Every subject he touched 
 he animated with that peculiar life which belonged to it, in this 
 respect his compositions from the comedies of Aristophanes are con¬ 
 sidered as fine as his saints, his angels, and his old German legends. 
 His fault was careless execution ; in fact, he seldom finished or worked 
 out his own conceptions, but left this to his pupils and workmen. 
 Among his last works was the gigantic statue, representing under the 
 semblance of a noble female figure, his native country, Bavaria; but 
 he did not live to see her placed on her pedestal, amid the acclama¬ 
 tions of his countrymen. His health had never been robust, and he 
 died, absolutely exhausted by the activity of his genius, in the year 
 1848, in his forty-seventh year. 
 
 202. A NYMPH. Statue. Life Size. 
 
 She is standing, leaning with one hand on the trunk of a tree, entwined 
 with ivy. Though called a nymph, this statue suggests the idea of 
 a listening Eve. 
 
 203. A NYMPH. Statue. Larger than life. 
 
 The Nymph of the Danube, seated on a rock; the waves and a fish at her 
 feet; she holds the Lyre, because the banks of the Danube were 
 famous for poets and musicians. This fine statue, noble in con¬ 
 ception and treatment, was executed for the Hofgarten at Munich. 
 
 204. CERES AND PROSERPINE. Group. Smaller than life. 
 
 Proserpine kneeling on one knee presents a flower to Ceres, who stands 
 upon her serpent-drawn car ; though a classical subject, grouped 
 rather in the picturesque style. Executed in marble, in 1843, for 
 Count von Redern, of Berlin. 
 
 205. BAYARIA. Colossal Head. Cast from the statue at Munich. 
 
 This statue is considered the grandest work, as combining size with 
 
SCHWANTHALER. 
 
 71 
 
 beauty, which has been executed in modern times. The Ex-King 
 Louis of Bavaria erected, on an eminence outside the western gates 
 of Munich, an edifice in white marble, intended as a Temple of Fame, 
 or Hall of Heroes (in German “ Rulimeshalle”) to receive the busts 
 and statues of celebrated Bavarians. In front of this temple stands 
 a stupendous figure cast in bronze, representing, under an allegorical 
 form, the country of Bavaria. The first model for this figure, executed 
 about 1838, was colossal, thirteen feet high ; but this was afterwards 
 enlarged into the not only colossal but gigantic statue which now 
 stands there. Bavaria is represented as a German maiden, crowned 
 with the oaken garland, from beneath which her long luxuriant 
 tresses float in masses to her shoulders ; the right arm is raised, and 
 in her hand she holds the laurel crown which rewards desert; the 
 left hand pressed on. the mighty bosom holds a sword to defend 
 her independence : she reminds us of the description of the Titan 
 Goddess in Hyperion :— 
 
 ‘ 1 Her face was large as that of Memphian sphinx. 
 
 By her in statue the tall Amazon 
 
 Had stood a pigmy’s height: she would have ta’en 
 
 Achilles by the hair and bent his neck, 
 
 Or with a finger stayed Ixion’s wheel.” 
 
 The height of the figure is 54 feet, that of the seated lion watching 
 at her side 27 feet, and the pedestal is 30 feet high, so that the 
 height of the whole is 114 feet. The casting in bronze of this 
 enormous figure was a process of great difficulty and expense. It 
 was begun in 1844, and completed in various portions in 1848. 
 The statue was placed on its pedestal and unveiled to the people, 
 October 9, 1850, in the midst of fetes and rejoicings, which were 
 shadowed by regrets, for Schwanthaler and Stiegelmayer (the latter 
 the greatest worker in bronze in Europe), had both died during the 
 progress of the work. 
 
 206. 207. TWO FIGURES OF VICTORY. 
 
 Each holding her palm branch, and leaning on a circular shield which 
 stands between them. 
 
 208, 209, 210, 211. FOUR ANGELS. Small Statues. 
 
 These figures are not particularly remarkable ; they were executed in 
 marble for the private chapel in the chateau of Prince Metternich. 
 
 212. A KNIGHT. Statuette. 
 
 In complete armour, leaning on a broad sword, and holding a cup in 
 his gauntleted hand. This was an early work, remarkable as 
 being a first attempt in that revival of the gothic or chivalric 
 style which has since become popular, and in which Schwanthaler 
 excelled. Picturesque. 
 
72 MODERN GERMAN SCULPTURE. 
 
 213. BELLEROPHON WITH PEGASUS AND PALLAS. Circular 
 
 Bas-relief. 
 
 Bellcrophon, when proceeding on his expedition against the Chimera, 
 is assisted by Pallas in subduing the winged horse Pegasus, who is 
 to hear him through the air. 
 
 214. THESEUS AND HIPPOLYTA. Circular Bas-relief. 
 
 Theseus, King of Athens encounters in battle, Hippolyta, Queen of the 
 
 Amazons, whom he overcame and afterwards married. The two 
 subjects form a pair, strictly classical in treatment. 
 
 215. THE SHIELD OF HERCULES. Circular Bas-relief 
 
 The subjects represented in relief, according to the description in Hesiod : 
 
 ‘ ‘ In the centre is a monstrous serpent, and around it every sort of 
 terrible force and power. The ocean with swans swimming on, and 
 fishes playing in, the waves, occupy the outer rim. In the inter¬ 
 mediate circle, there is, first, a fight of lions and boars ; then the 
 battle of the Centaurs and Lapithse, with Mars in his chariot and 
 Pallas in arms. Next is seen Apollo playing on the lyre, in an 
 assembly of the gods; then an arm of the sea, dolphins pursuing 
 the other fishes, and a fisherman about to throw a casting net. 
 After this Perseus appears, flying in the air, a detached figure on the 
 surface of the shield, with Medusa’s head at his back; the other 
 Gorgons follow, wreathed about with serpents. Then is seen a 
 besieged city, with a battle, and the Fates, Clotho, Lachesis, and 
 Atropos ranging over the field, and contending for the dead. Achlys, 
 the dimness or shadow of death or misery, stands near, a hideous 
 figure. Then follow successive representations of a city at peace, 
 and full of pomps and festivals of reaping, of sheaf-binding, of 
 vintaging, of boxing, of hare-hunting, and, lastly, of the chariot- 
 race.” Compare with No. 265. We ought to have here a cast from 
 Flaxman’s Shield of Achilles, as described in Homer, to contrast 
 with both. From the very exact descriptions of these two shields, 
 it has been assumed that the art of working in metal, and chiseling 
 or beating out figures in relief, must have been carried to great 
 perfection at a very early period. 
 
 Albert, or, as he was called in his own country, Bertel Thor- 
 waldsen, was horn at Copenhagen in 1770. His family was noble : 
 he counted, as we are assured, ancient kings of Denmark and famous 
 Icelandic poets and sages among his remote ancestry; but his parents 
 were so reduced in station and in fortune, that his father (whose trade 
 it was to carve figure-heads for ships) could with difficulty provide 
 for the education of his son. Albert was a quiet, reserved, dreamy, 
 silent boy, supposed to be dull, known to be ignorant, but he was 
 a born artist; and in his father’s workshop he learned at least to use 
 his tools. He was at length sent to the drawing school of the Academy, 
 
THORWALDSEN. 
 
 73 
 
 which he attended for several years, during which he assisted his 
 father, and struggled with poverty and hardship ; in 1795 he gained 
 the highest academic prize for a model in bas-relief, which gave him 
 the privilege of being sent to Rome, at the expense of the Academy, 
 with a salary of 300 dollars for three years. He was still, while 
 poetry and art were fermenting within his soul, so ignorant of the 
 commonest elements of literature, that it was necessary to detain him 
 for instruction for two years before he could set off. He arrived at 
 Rome in the year 1797, and there he passed a year or more, doing 
 nothing, lost apparently in idle contemplation of the wonders around 
 him, to the great discouragement and almost despair of his friends. In 
 the year 1799 his small pension expired; he was now in his thirtieth year, 
 but he had done so little, and the case appeared so hopeless, that he 
 was on the point of returning to Denmark. At this critical moment, a 
 rich Englishman, the well-known Thomas Hope, entered his studio and 
 found there the model of the statue of Jason. He was struck by it, 
 ordered it in marble, and generously laid down more than the price 
 asked for it; Thorwaldsen remained in Rome to study, to work, to reach 
 a height of fame and success which he had, perhaps, silently dreamed 
 of himself, but which no one had anticipated for him ; when, thirty- 
 eight years afterwards he revisited his native city of Copenhagen, he 
 was “received among men like a descended god.” He had left 
 Copenhagen an obscure melancholy boy, he returned a famous artist; 
 he left it poor, he returned rich. A frigate was sent to convey him 
 to his native shore, and when he landed, the people drew his carriage 
 in triumph to the city. In 1841, he revisited Rome, collected his 
 property together, and finally returned to Copenhagen in 1842. His 
 long, happy, glorious life was crowned by a death as happy. On 
 taking his accustomed seat one evening to listen to a musical perform¬ 
 ance, his head after a while sunk on his breast, and he never raised it 
 again. Thus he died at the age of seventy-three. Those who have 
 once seen Thorwaldsen, will not easily forget the handsome old man, 
 with his regular features, his ample brow, his penetrating blue eyes, 
 and flowing white hair. Of his merit as an artist there can be but 
 one opinion: his superiority to Canova is now generally admitted. 
 His inventive genius was as various as it was inexhaustible ; and the 
 ease, precision, and facility with which the clay took form under his 
 hands, was often matter of astonishment to those who stood by: 
 when some one observed that he could not chisel the marble with the 
 same certainty that he modelled the clay, he replied laughingly, that 
 if his hands were tied behind him he would bite a statue out of the 
 marble with his teeth. Of his almost innumerable works all are not 
 of course equally good, but no man has left behind so many that may 
 be pronounced excellent. In the management of bas-relief he attained 
 perfection. He was the first among the moderns who felt and applied 
 the principles on which the Greek artists worked in this style, and 
 who understood the widely different laws which regulate the pictu¬ 
 resque and the sculptural treatment. In the latter part of his life he 
 
74 
 
 MODERN GERMAN SCULPTURE. 
 
 devoted himself principally to religious subjects. A few only of his 
 most celebrated productions are here, but sufficient to exhibit the 
 astonishing versatility of his powers. Among his statues, the Shep¬ 
 herd Boy, the Seated Mercury, the Yenus with the Apple, have not 
 been surpassed. Of his bas-reliefs the grand frieze of the Triumph 
 of Alexander is perhaps his finest. In these classical compositions he 
 sometimes gave a new and charming significance to the old forms and 
 associations, which entitle him to rank as a born poet. His fancy was 
 always regulated by a pure taste and an elevated moral sentiment. 
 Thorwaldsen executed many busts and portrait statues, but on the 
 whole was not so happy in them as in his ideal works. His statue of 
 Lord Byron, for instance, must be pronounced a failure both in the 
 resemblance of the head and in characteristic treatment; it is a mistake 
 altogether. Nor are his statues of Goethe and Schiller quite satis¬ 
 factory. The works of Thorwaldsen are scattered all over Europe. 
 Some of his finest are in England, and he never forgot that his first 
 patron had been an Englishman. He died in 1843. 
 
 216. HOPE. Statue. Life size. 
 
 This fine statue is a singular conception of the subject, an imitation of 
 the grave Etruscan style. Hope stands before us here pensive 
 rather than joyous; a maiden dignified and modest, with rich and 
 ample drapery, which she raises with her left hand, in act to step 
 forward ; while in her right she holds the yet unopened lotos flower. 
 The model was completed in 1818, and executed in marble for the 
 Baroness von Humboldt (the wife of Wilhelm), in 1829. When 
 she died, a copy, by Tieck, of this statue was by her own desire 
 placed at the head of her grave. It was while occupied with the 
 restoration of the Egina marbles that Thorwaldsen modelled this 
 statue, and it shows how deeply his imagination had been impressed 
 by the serious and formal style of those remains of early Greek art. 
 Classical—somewhat archaic in style. (See Greek Court, page 20.) 
 
 217. YENUS. Statue. Life size. 
 
 Standing, she holds in her right hand the fatal apple decreed to her by 
 Paris ; the left rests on her drapery, thrown over the trunk of a tree; 
 she seems to turn to the other goddesses with triumph. This is a 
 very exquisite version of the “Yenus Yictrix” of the ancients. The 
 first conception was considerably under the size of life. The artist, 
 however, broke the model, and repeated his design of a larger size, 
 in 1816. It was executed in marble, for Lord Lucan, about the 
 year 1824. 
 
 218. YENUS WITH THE APPLE. Statue. Life size. 
 
 This is the same subject as No. 217, and the same treatment; but the model 
 has been slightly altered ; the leg is less bent, and the turn of the 
 head not quite the same. The alterations however are so trifling, 
 that though they are felt at the first view, it requires a close and 
 careful comparison to appreciate them. 
 
THORWALDSEN. 
 
 75 
 
 219. MERCURY. Statue. Life size. 
 
 Mercury seated, holds in liis left hand the pipe with which he has 
 soothed Argus to sleep ; in his right hand he grasps the sword 
 with which to slay him. According to the Greek legend, Argus, 
 with his hundred watchful eyes, was sent by Hera (Juno) to guard 
 Io ; Jupiter commissioned his messenger, Mercury, to carry off Io, 
 which he accomplished by putting Argus to sleep with the sound 
 of his pipe, and then cutting off his head. This statue is one of 
 the most perfect productions of modern art; in fact, there are but 
 few productions of antique art which excel it, in the completeness 
 and beauty with which the conception has been carried out. In 
 the action and attitude, the present, the past, and the future 
 moments are exquisitely blended ; the god has just taken the reed 
 pipe from his lips, the sounds still float in the air, his head is turned 
 towards the sleeper with a look of suspense, the sword is half 
 unsheathed; but the moment, though one of transition, is one of 
 repose ; and nothing can exceed the quiet grace of the attitude, 
 and the youthful, god-like beauty of the form. This statue was 
 modelled in 1818. The first marble was executed for the Prince of 
 Augustenburg ; the second (a most perfect example) is in possession 
 of Lord Ashburton, and there are other repetitions. 
 
 220. GANYMEDE. Statue. Small life size. 
 
 The youthful cup-bearer of the gods holds the cup in the left hand, the 
 vase raised in his right and in the act of pouring out nectar for the 
 gods. He wears the Phrygian cap or bonnet, which, in Greek art, 
 is the usual attribute of the inhabitants of Asia Minor. According 
 to the Greek myth Ganymede was carried off by the Eagle of Jove 
 while keeping ' his flocks on the plains of Troy. Classical, and 
 exquisite for true antique feeling and grace. 
 
 221. A SHEPHERD. Statue. Life size. 
 
 He is seated in an easy attitude of repose, on a fragment of rock, over 
 which is thrown a sheepskin ; the right hand is round his leg ; with 
 the other he leans on his staff; his dog is at his side. The model for 
 this most beautiful work was a young shepherd of the Campagna. 
 The dog is the portrait of the artist’s favourite dog Teverino. The 
 original marble was executed about 1817, for Thorwaldsen’s friend, 
 Mr. Krause, of Weintrop, near Dresden. A repetition is in the 
 possession of Lord Cowley. Classical style. 
 
 222. THE THREE GRACES. Group. Life size. 
 
 Aglaia, the eldest of the Graces, half embraces her sisters. Thalia 
 holds the golden arrow of Love, and Euphrosyne seems about to 
 feel the point of it. As the three stand, their arms are inter¬ 
 twined with a peculiarly modest and easy grace, and the harmony 
 which unites them is expressed by the little Genius of Love who tunes 
 his lyre at their feet. In this group, Thorwaldsen successfully com¬ 
 peted with the well known composition of Canova, then universally 
 
76 
 
 MODERN GERMAN SCULPTURE. 
 
 celebrated, and as it was tbougbt, not to be surpassed in art. Tlie 
 observer will do well to compare them, as has been done in a famous 
 epigram by the King of Bavaria, who gives the merited palm to the 
 more chaste and thoroughly Greek conception of Thorwaldsen. The 
 Graces are here the beautiful beneficent Charities. (See No. 125). 
 The model for this group was completed in 1817, and first executed 
 in marble for the Prince of Augustenburg in 1819. 
 
 223. LOYE BENDING HIS BOW. Statue. Small life size. 
 
 This is not the divine Eros of the Greeks, but the playful, mischievous 
 Cupid of the Latins, treated in the picturesque style :— 
 
 11 Qui que tu sois, void ton maitre; 
 
 II Test, le fut, ou le doit etre ! ” 
 
 Compare this conception of the deity of love with that of Gibson, No. 23. 
 
 224. A GENIUS SEATED AND PLAYING THE LYRE. Statue , 
 
 Small life size. 
 
 This figure was originally placed at the feet of the three Graces, and has 
 since been often repeated by the artist as a separate statue, being in 
 sentiment very beautiful, and complete in itself. 
 
 225. A YASE, with. Bas-reliefs. 
 
 Representing what has been called “The Life of Love” (La linea della 
 vita umana). The subject of this Bas-relief was suggested by a 
 graceful antique picture found in the ruined city of Herculaneum, 
 representing a girl selling Cupids. Thorwaldsen has extended and 
 varied this idea into a very beautiful and significant composition. 
 The maiden is here a winged Psyche ; she has a cage near her, full 
 of little Cupids, some of whom are peeping through the bars of the 
 cage, others trying to escape: a child behind Psyche lifts up the 
 covering of the cage, and peeps to see what is there ; while another, a 
 little older, appears half inclined to play with them, though with 
 a suspicion that they are not quite so harmless as they seem. Before 
 Psyche kneels a girl, receiving into her open arms the little Cupid 
 which is presented to her : another maiden carries off her purchase, 
 fondly pressed to her bosom : another, who seems already to repent 
 her bargain, holds him by the wings with thoughtful downcast eyes. 
 The next figure is that of a man in the prime of life, seated, while 
 the little god rides triumphant on his shoulders. The last figure 
 is that of an old man, from whom Cupid has escaped, and is 
 flying off with a mocking air, while the other is stretching forth 
 his hand in vain. This elegant bas-relief was executed in marble, 
 about the year 1825, and is in the possession of Mr. Labouchere. 
 
 226. THE TRIUMPH OF ALEXANDER. Frieze, in Bas-relief. 
 
 About eighty feet long, by one foot ten inches high. 
 
 To understand all the beauty and interest of this magnificent composition, 
 it is necessary to say a few words of its history. In the year 1812, 
 
THORWALDSEN. 
 
 77 
 
 Napoleon entertained the project of visiting Rome, and ordered that 
 the Pope’s Palace, on Monte Cavallo, should be prepared for his 
 reception, and furnished and decorated as an imperial residence. 
 One of the halls of reception was to be ornamented by a frieze 
 running round the upper part of the wall, and the commission was 
 given to Thorwaldsen, who had only three months to complete his 
 work. As a significant compliment to Napoleon, he chose for his 
 subject “ The Triumphal Entrance of Alexander the Great into 
 Babylon.” The whole composition, though forming altogether an 
 harmonious and connected series, may be divided into two parts, 
 meeting in the centre. The procession on the right represents 
 Alexander and his Greeks approaching the gates of Babylon. The 
 procession on the left represents the inhabitants of the conquered 
 city going forth to meet them. 
 
 A. First appears Alexander, on his triumphal car, drawn by four 
 horses. Victory, at his side, holds the reins. 
 
 B. The car is followed by two armour-bearers, carrying the shield, 
 bow, and lance, of the hero. Then Alexander’s famous horse, 
 Bucephalus, prancing and rearing, and attended by two grooms, who 
 are endeavouring to rein him in. 
 
 C. Three of Alexander’s favourite generals, Antipater, Perdiccas, 
 and Antigonus, on horseback. 
 
 D. Then Leonnatus, who commanded the cavalry, and was one of 
 Alexander’s most distinguished friends ; he is followed by a troop of 
 horsemen. 
 
 E. The infantry, represented by a group of soldiers on foot. 
 
 F. An elephant next appears, loaded with the spoils of the enemy ; 
 near him walks a captive prince, who has-been supposed to represent 
 the Prince of Gaza, but rather, I imagine, expresses, in an abstract 
 way, the subjugation of the Princes of the East. A troop of guards 
 close the procession. The shield of the last figure bears (in the 
 original marble) the head of Thorwaldsen. 
 
 Returning to the centre. The first figure on the left is the Genius 
 of Peace, who approaches to meet and welcome the conqueror. The 
 Governor of Babylon and his five children follow as suppliants. 
 
 G. Next appear three graceful female figures of women, strewing 
 flowers, and a child with a basket of flowers on his head. 
 
 H. Then Bagophanes, the treasurer of Darius, and distinguished 
 by his servility to the conqueror, appears with four attendants, about 
 to erect an altar, and burn incense. 
 
 I. Next follows a procession of suppliants, bearing gifts ; three 
 superb coursers ; lions and panthers chained, with their keepers, &c. 
 
 K. The Chaldean Magi and Priests close this part of the pro¬ 
 cession. They had foretold that Alexander’s entry into Babylon 
 would be the cause of his destruction. 
 
 The third part of the frieze, filling up the lower end of the 
 room, represents the walls of the city, and the open space near it, 
 and the river Euphrates, with spectators, who have assembled to see 
 the show ; people are looking down from the ramparts : below is seen 
 a shepherd with his family; on the river is a boat with three men ; a 
 fisherman is seated on the bank ; a camel, with a family of peasants, 
 and a few palm trees, express the Oriental locality. 
 
78 
 
 MODERN GERMAN SCULPTURE. 
 
 In contemplating this frieze, which is one of the most celebrated 
 works of the sculptor, in a department of his art in which he 
 excelled, that of bas-relief, we are struck by two things ;—first, the 
 exceeding beauty of the composition, in which, without any crowding 
 or confusion, or unnecessary figures, all the circumstances and senti¬ 
 ments of the scene are expressed with the most vivid truth, yet with 
 the ideal treatment proper to sculpture. Secondly, we cannot but 
 feel that the choice of the subject had a fitness which the artist did 
 not contemplate. Alexander entered Babylon to meet his death ; 
 this was his last triumph. Napoleon, in whose honour the work 
 was executed, was then setting out on his Russian expedition, which 
 resulted in his downfall ; he had seen the last of his triumphs. 
 It is curious, also, that, notwithstanding the totally different style of 
 treatment, we are struck by a resemblance to the processions in the 
 newly discovered Nineveh sculptures, where we see a conquering 
 despot, riding in his chariot, attended by the Genius of Victory, 
 while slaves and captives, and spoils, and strange animals, with their 
 keepers, figure conspicuously. The first cast of this frieze in plaster 
 still decorates the Pope’s Palace on Monte Cavallo, though now unfitted 
 for the locality. It has twice been executed in marble, once for the 
 Palace of the King of Denmark, at Copenhagen (in 1829); and again 
 for Count Somariva, for which he paid 100,000 francs. 
 
 227. NAPOLEON. Colossal Bust. 
 
 As Victor, crowned with laurel. The eagle wings in front, the palm 
 behind, and the cannon ball, are all in questionable taste. 
 
 228. LORD BYRON. Bust. 
 
 Feeble, almost ignoble, and without likeness or character. 
 
 Of these two busts I must remark, that neither Napoleon nor Lord Byron 
 ever sat to Thorwaldsen. (See Portrait Gallery, Nos. 311 and 418.) 
 
 229. MINERVA ADJUDGES THE ARMOUR OF ACHILLES 
 
 TO ULYSSES. Bas-relief. Six figures. 
 
 After the death of Achilles in the Trojan War, Ulysses and Ajax con¬ 
 tended for the honour of inheriting his arms ; by the advice of 
 Athena (Minerva), they were adjudged by Agamemnon, not to Ajax, 
 the strong man, but to Ulysses, the wise man, in which it must be 
 owned Athena showed some partiality to her favourite ; in conse¬ 
 quence of this decision, Ajax was seized with madness and slew 
 himself. The subject is taken from Sophocles. Classical style. 
 
 230. APOLLO PLAYING TO THE GRACES AND THE MUSES. 
 
 Bas-relief. Thirteen figures. 
 
 Apollo (he is here in his character of Musagetes) is seated on the left, 
 playing on his lyre ; the three Graces, standing on an eminence 
 mutually embracing, appear to listen. In front of Apollo, Euterpe, 
 the Muse of lyric poetiy, plays on the double pipe. Terpsichore, the 
 Muse of dance and song, sounds the tambourine; and Erato, the 
 
THORWALDSEN. 
 
 79 
 
 Muse who inspired love songs, crowned with flowers, appears behind. 
 The other Muses, Calliope, Clio, Melpomene, Polyhymnia, Urania, 
 Thalia, join in the dance. (To dance at the festivals of the gods 
 was one of the occupations of the Muses ; and according to Pindar, 
 the Graces were enthroned on Olympus, next to Apollo.) Classical 
 style. 
 
 231. THE FOUR SEASONS. Four circular Bas-reliefs. 
 
 A. Spring, a female figure, attended by two genii bearing baskets of 
 
 flowers. 
 
 B. Summer, a harvest scene, with a group of reapers. 
 
 C. Autumn, a hunter returns to his home bearing game ; a woman and a 
 
 child (seated under a vine loaded with grapes) receive him. 
 
 D. Winter, an old man warming his hands over a brazier, while an old 
 
 woman lights her lamp. 
 
 232. THE GENIUS OF THE NEW YEAH. Circular Bas-relief 
 
 A winged figure expressing the attributes of the four seasons; he has 
 skates to his feet, and bears a bunch of grapes, a sickle and ears 
 of wheat, and a wreath of flowers ; around him, in a circle, the twelve 
 signs of the zodiac. Classical—somewhat picturesque treatment. 
 
 233. CUPID AND HYMEN. Bas-relief 
 
 Love holds the distaff; Hymen spins the thread. 
 
 234. CUPID AND GANYMEDE. Bas-relief 
 
 Ganymede seated, Cupid standing ; they are playing at an ancient game 
 of chance. 
 
 235. CUPID AND PSYCHE. Bas-relief 
 
 Flying or floating together through the air. 
 
 236. CUPID AND HYMEN. Bas-relief 
 
 Both winged, borne through the air; Hymen lights his torch; Cupid 
 bends his bow. 
 
 237. CUPID BOUND BY THE GRACES. Bas-relief 
 
 The three Graces, seated, bind Cupid with garlands of flowers, having 
 first stolen his arms. A very charming, and significant allegory ; 
 classical treatment. 
 
 23S. THE BIRTH OF BACCHUS. Bas-relief 
 
 239. LOYE CARESSING A DOG. Bas-relief 
 
 The dog is here the symbol of fidelity. 
 
80 
 
 MODERN GERMAN SCULPTURE. 
 
 240. LOYE MAKING HIS NETS. Bas-relief. 
 
 241. JUPITER DICTATING LAWS TO LOYE. Bas-relief 
 
 Jupiter is enthroned, and Cupid, with a tablet in his hand, stands before 
 him, and appears to be writing from his dictation. These three form 
 a series. The conception is poetical, the treatment classical. 
 
 242. THE FOUR ELEMENTS. Bas-relief 
 
 A. Air bestrides the eagle, and is armed with the thunder. 
 
 B. Earth guides the lion. 
 
 C. Water, bearing the trident of Neptune, is borne by a dolphin. 
 
 D. Fire, having yoked Cerberus (who guarded the flaming gates of Tartarus), 
 
 drives him with the fork of Pluto. Elegant and classical, yet some¬ 
 what conventional in treatment. 
 
 243. BACCHUS FEEDING LOYE. Bas-relief 
 
 Bacchus, vine-crowned, and with his attributes (the leopard at his side, 
 and the thyrsus, the staff surmounted by the fir-cone, which lies 
 near him) holds out a cup of wine to the God of Love, who takes it 
 in both hands, with a sort of child-like innocence and unsuspicious¬ 
 ness. Classical and very elegant. 
 
 244. LOYE AWAKENING PSYCHE. Bas-relief 
 
 She has swooned, after opening the casket entrusted to her by Proserpine. 
 Love takes an arrow from his quiver, with which to recal her to 
 life. 
 
 245. THE BAPTISM OF CHRIST. Bas-relief 
 
 Two figures only ; the Redeemer stands on the water, with hands meekly 
 folded on his breast. St. John holds the shell. 
 
 246. A GUARDIAN ANGEL. Bas-relief 
 
 The angel directing and protecting the steps of a child. 
 
 247. THREE SINGING ANGELS. Bas-relief 
 
 Gracefully grouped, and singing from the same music-scroll. 
 
 248. THREE PLAYING ANGELS. Bas-relief 
 
 One has a lute, the other a harp, the third a pipe. 
 
 249. THREE FLOATING INFANT ANGELS. Bas-relief 
 
 The artist has well distinguished, in sentiment, these winged angelic 
 boys from three Cupids, and the management of their arms as they 
 embrace is especially skilful and beautiful. These three bas- 
 reliefs of angels decorate the Cathedral at Copenhagen. 
 
THORWALSDEN—TIECK. 81 
 
 250. CHARITY. Bas-relief. 
 
 A mother with, a child in her arms, while another clings to her drapery. 
 Designed for the font in a church at Copenhagen, about the year 
 1810; executed in marble for the Marquess of Lansdowne. 
 
 251. CHRIST BLESSING CHILDREN. Bas-relief. 
 
 One of the late religious works executed by the artist after his return 
 to Denmark, about the year 1840. 
 
 252. THE VIRGIN WITH THE INFANT CHRIST AND ST. 
 
 JOHN. Bas-relief. 
 
 A Holy Family, somewhat cold and formal. 
 
 Cheistian Feiedeich Tiece, the brother of the celebrated poet and 
 critic, Ludwig Tieck, was born in Berlin, 1776. He studied drawing 
 under Godfried Shadow, and then went to Paris, where he studied some 
 years. He was afterwards, under the patronage and direction of 
 Goethe, employed in the decoration of the Grand-Ducal Palace at 
 "Weimar. He was invited by Madame de Stael to Switzerland, where 
 he executed several busts, including her own, and that of her second 
 husband, M. Rocca. The King of Bavaria also employed him on a 
 number of the busts for the Valhalla. It does not appear that he has 
 produced any work on a very large scale ; he is chiefly remarkable 
 for his busts, and portraits in bas-relief. His atelier was at Berlin, 
 where he formed some excellent scholars ; amongst others, the Bohe¬ 
 mian, Kiss, whose colossal group of the Amazon and the Lion was so 
 much admired in the Great Exhibition. Tieck died on the 14th of 
 June, 1851. 
 
 The following series of eight small statues, seated, form part of a set of 
 fifteen classical subjects, executed in marble, to decorate the sleeping- 
 chamber of the King of Prussia :— 
 
 253. Eros, the Greek Cupid. 
 
 254. Dionysos, the Greek Bacchus. 
 
 255. Ariadne, reclining, and asleep ; she is thus represented, 
 because, while sleeping in the Island of Naxos she was deserted by 
 her ungrateful lover Theseus (whose life she had saved), and found 
 there by Bacchus, who made her his bride. 
 
 256. Psyche, holding the lamp. 
 
 257. Achilles, holding his sword. 
 
 258. Ulysses, holding his sword, and with the accustomed cap. 
 
 259. Iphigenia, half kneeling, as victim; the altar and stag behind 
 her. 
 
 260. Mars. 
 
 0 
 
82 MODERN GERMAN SCULPTURE. 
 
 Theodore Wagner, bom at Stutgardt, in 1800; studied under 
 Dannecker. 
 
 261. A MAGDALEN. Statue . Life-size. 
 
 She is reclining on the earth : one hand rests on a hook (the Scriptures); 
 in the other she holds a cross, which she contemplates with 
 profound grief. Executed in marble, in 1843. Compare this with 
 the conception of Canova, No. 138. Sacred subject; picturesque 
 treatment. 
 
 Herman Wittich, born in 1815 ; studied in the Academy at 
 Berlin, and afterwards became a pupil of Tieck. One of his best 
 works is a group of Siegfried and Chremhilda, cast in bronze in 1850. 
 
 262. HAGAR. Colossal Group. 
 
 263. A HUNTER. Statue. Life-size. 
 
 In the left hand he holds his bow, and with the right draws an arrow 
 from his quiver. Full of life, and very well executed. Classical. 
 Compare with No. 20. 
 
 Max Widnmann was born in 1812, at Eichstadt, in Bavaria. 
 He studied his art under Schwanthaler, at Munich, and became one 
 of that great artist’s favorite pupils and assistants. He has succeeded 
 Schwanthaler as Professor of Sculpture in the Academy at Munich. 
 
 264. A HUNTER DEFENDING HIS FAMILY. Colossal Group. 
 
 The mother clasps her child to her bosom, while the father is contending 
 with an enraged female panther, who appears to have been robbed of 
 her young. This fine animated group was executed in marble in 
 1851. 
 
 265. THE SHIELD OF HERCULES. Bas-relief. 
 
 As described by Hesiod. Compare with No. 215. 
 
 Emilitjs ‘Wolff, born at Berlin in 1796; studied with Rudolf 
 Schadow, and afterwards with Thorwaldsen. He is settled at Rome, 
 where he has a distinguished reputation. He excels in animals, and 
 has executed some very good works in the religious style. Wolff 
 visited England in 1841 ; obtained the patronage of the Queen and 
 Prince Albert; and executed a statue of the Prince in the costume of 
 a Greek warrior. 
 
WAGNER—'WITTICH—WIDNMANN—'WOLFF—ZWERGER. 83 
 
 266. TELEPHUS SUCKLED BY A HIND. Group. Smaller 
 
 than life. 
 
 Telephus, the son of Hercules, and Augeia (a priestess of Minerva) was, 
 after his birth, exposed on Mount Parthenion, where he was found 
 and suckled by a hind ; he was afterwards King of Mvsia. The 
 original marble was executed for the King of Prussia. 
 
 267. A NEREIDE. Statue. Life-size. 
 
 Or, rather, a nymph fishing (Pescatrice); she is reclining on the sea¬ 
 shore, with shell-fish near her. 
 
 268. A GERMAN MAIDEN WITH A LAMB. Statuette. 
 
 Executed in marble for Mr. Yates, of Liverpool (?). Picturesque. 
 
 269. WINTER. Statue . Small life-size. 
 
 Represented here by a boy, or genius, wrapped in a lion’s skin, holding in 
 one hand a fir-cone, with which, in Italy, they kindle the fire. In 
 the ornamental style. 
 
 270. DIANA. Statue. Small life-size. 
 
 Standing, and leaning on her bow. Classical. 
 
 271. A FLOWER GIRL. Statuette. 
 
 Standing, with a basket of flowers on her head. In the ornamental style. 
 
 John - Nepomuch Zwerger, born in 1798, at Donau-Eschingen, 
 in Wurtembnrg ; studied under Dannecker and Thorwaldsen. He is 
 Professor of Sculpture at Frankfort. 
 
 272. A SHEPHERD BOY. Statue. Smaller than life. 
 
 He is seated, with one hand holding his pipe, with the other caressing his 
 dog. Classical. 
 
84 
 
 STATUES ON THE UPPER GARDEN TERRACE. 
 
 1. 
 
 Subjects. 
 
 BIRMINGHAM . 
 
 Sculptors. 
 
 o . John Bell. 
 
 2. 
 
 SHEFFIELD 
 
 e . John Bell. 
 
 3. 
 
 CALIFORNIA . 
 
 e . John Bell. 
 
 4. 
 
 AUSTRALIA 
 
 . . John Bell. 
 
 5. 
 
 THE UNITED STATES 
 
 . . Hiram Powj 
 
 6. 
 
 CANADA 
 
 . . Lahnitz. 
 
 7. 
 
 RUSSIA . 
 
 * . Lahnitz, 
 
 8. 
 
 BELGIUM 
 
 . . Geees. 
 
 9. 
 
 PARIS 
 
 . . Etex. 
 
 10. 
 
 MULHOUSE . 
 
 . . 
 
 11. 
 
 LYONS 
 
 • • 
 
 12. 
 
 MARSEILLES . 
 
 • • 
 
 13. 
 
 BELFAST . 
 
 . c Legrew 
 
 14. 
 
 MANCHESTER 
 
 . . Theed. 
 
 15. 
 
 LIYERPOOL 
 
 . . Spence. 
 
 18. 
 
 GLASGOW 
 
 . . Marshall. 
 
 17. 
 
 INDIA .... 
 
 
 18. 
 
 CHINA . 
 
 
 19. 
 
 EGYPT 
 
 . » 
 
 20. 
 
 TURKEY . 
 
 
 21. 
 
 GREECE 
 
 . 
 
 22. 
 
 SOUTH AMERICA . 
 
 . . Monti. 
 
 23. 
 
 ITALY .... 
 
 . . Monti. 
 
 24. 
 
 SPAIN . 
 
 . . Monti. 
 
 25. 
 
 HOLLAND 
 
 . . Monti. 
 
 26. 
 
 THE ZOLLYEREIN*. 
 
 . . Monti. 
 
 * The northern states of Germany, which have entered into a bond for 
 mutual protection in custom-house duties and commerce, are de¬ 
 nominated the Zollyerein. The idea is here represented by a grand 
 female figure, wearing the imperial crown and mantle, and protecting 
 a hoy and girl, the former carrying a specimen of the raw material, 
 and the latter holding the manufactured web. This group is very 
 nobly conceived. 
 
Since this Handbook was sent to press some of the 
 objects mentioned have received a new position ; but the 
 nmnbers upon the objects correspond with the numbers 
 in the book. 
 
 June 2nd, 1854.