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 It 
 
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 V 1 -I 1925 
 
 JAW C 
 
 1941 
 
 SOUTHERN BRANPi^ 
 
 'J^J'VEnSITY OF cTiim^i, 
 
 LIBRARY ' 
 
 ^S ANGELES. 6auf,

 
 5 
 
 rilEFACE TO THE SECOND EDTl'lON. 
 
 THE demand for a new edition of " Famous Sculptors 
 and Sculpture " Las led to an extended revision 
 and correction of the whole work. It has been consid- 
 erably enlarged by the addition of biographical sketches 
 of modern sculptors, and descriptions of their works, 
 making it a more complete history to the present time. 
 
 A number of the illustrations found in the first 
 edition are retained, while new and attractive ones have 
 been inserted, giving, it is hoped, a fresh interest to this 
 work, and to the general study of sculpture. 
 
 llK.miASK, October, 1S95. 
 
 I CL \ t, b
 
 PREFACE. 
 
 rr^IIK aim of this work is to give in a condensed form 
 -L such authentic knowledge of the great sculptors of 
 ancient and modern times as can be obtained, and a de- 
 scription of the masterpieces of sculpture now existing. 
 
 The record commences with the dawning of the best 
 period of Greek and Eoman art, giving an account of the 
 most celelirated sculptors and their works to the decline 
 of classic art. Commencing again with the revival of art 
 in Italy, as shown in the works of Niccola Pisano, who 
 flourished in the early part of the thirteenth century, 
 and who is honored as " the father of modern sculpture," 
 it extends to the present time, not, however, including 
 living .sculptors. 
 
 Much valuable information concerning the history of 
 Italian art has, during the last few years, been gained 
 through the examination and publication of documents 
 hitherto unknown, or unsoarched. The present volume 
 has been prepared with careful reference to the latest and 
 most important of these publications, and with the en- 
 deavor to give a just ])roniiiience to facts, wliile exer-
 
 vi PREFACE. 
 
 cising discrimination in regard .to matters of opinion or 
 conjecture. 
 
 The Catalogue of Sculptures has been carefully pre- 
 pared, and includes a large proportion of the best works 
 of the sculptors mentioned in the biograj)hical part of 
 the work, and many of the most remarkable remains of 
 antique sculpture by unknown artists. To this is added 
 a list of ioteresting works by modern sculptors, both 
 native and foreign, which are to be seen in our own 
 country.
 
 LIST OF ILLUSTRATIONS. 
 
 PAoa 
 
 I. Portrait Statce of Sophocles Frontispiece 
 
 Lateran Museum, Rome. 
 
 11. Vencs of Melo8 18 
 
 Lou%Te, Pai'is. 
 
 III. Bas-relief on Tomb of S. Domenico. Siccola Pisano . 46 
 
 S. Domenico, Bologna. 
 
 IV. PrLPiT. GioL-anni Pisano 54 
 
 Cathedral, Pisa. 
 
 V. St. Gkokge. Donatella 80 
 
 Or San Michele, Florence. 
 
 VI. PoKTKAiT of Michael Angelo. Canova 124 
 
 Palace of the Conservatori, Home. 
 
 VII. Lorenzo de' Medici. Michael Angela 134 
 
 S. Lorenzo, Florence. 
 
 VIII. Portkait of Cellini 150 
 
 Palace of the Uffizi, Florence. 
 
 IX. Portrait of Bernini. Canova'. . .' 174 
 
 Palace of the Conservatori, Rome. 
 
 X. Akiadne vpo.n' the Panther. Dannecker 220 
 
 Bethniann Museum, Frankfort. 
 
 XI. 4I0AN OF Arc. Rude 256 
 
 Gardens of the Luxembourg, Paris. 
 
 XII. Perl Crau-ford 294 
 
 Corcoran Gallery of Art, Washington, D. C.
 
 FAMOUS SCULPTORS AND SCULPTURE 
 
 OF 
 
 ANTIQUITY.
 
 Sculptors of Antiquity. 
 
 X2^ 
 
 THE remains of the early art of Greece are so scanty, 
 and the history of its development through several 
 centuries is so confused and so mythical, that the student 
 is almost content to accept the legend of the ancient 
 Greeks, that the old statues of the gods descended from 
 heaven. There is, however, much legendary information 
 concerning artists and their works which doubtless has 
 its foundation in fact, and is of value in tracing the de- 
 velopment of art from the lifeless and monotonous forms 
 of prehistoric times to the perfection of life and beauty 
 which characterizes the art of Greece in its best period. 
 The art of the Greeks, as that of the Eastern nations, was 
 closely connected with their religion. The gods of the 
 Egyptians were characterized by a strange symbolism, and 
 those of the Hindoos were monstrosities with numberless 
 heads and limbs, while the gods of the Greeks were repre- 
 sentations of the highest human attributes. Adhering to 
 the forms of nature, which in the Grecian race were origi- 
 nally noble, and developed by favoring circumstances, their 
 artists created ideal types of still higher beauty and ma- 
 jesty as personifications of their deities. Undoubtedly 
 the earlier Oriental art influenced the art of Greece, but 
 its grotesque and mystic forms were remoulded in the
 
 4 SCULPTORS OF ANTIQUITY. 
 
 freer, purer atmosphere of Grecian life ; and though the 
 art of Greece may have begun with imitation, it seems to 
 have borrowed only what was technical and mechanical, 
 aiming at once towards the regions of ideal beauty. 
 
 The progress of sculpture in Greece can be traced in 
 history and in the remains of plastic work from about 
 600 B. c. From this period schools were formed in its 
 great cities, and the growth of sculpture was rapid for 
 about two centuries, reaching its highest point of perfec- 
 tion in the time of Phidias. 
 
 Many important works mentioned in history, once be- 
 lieved to be lost, are found to exist still in copies, or slight 
 variations, of the great originals, so that the student can 
 trace the development of art, and form an approximately 
 correct judgment with regard to individual works. 
 
 Various workers in clay and wood were among the ear- 
 liest artists of whom there is distinct historical record ; 
 and as early as 680 b. c. we have accounts of bronze cast- 
 ing, r.nd sculpture m marble. 
 
 ARISTOCLES AND CANACHUS. 
 
 AMONG the artists whose works bear the stamp of 
 individuality, and seem to establish a new era in 
 the world of art, Aristocles and Canachus of Sicyon 
 occupy an eminent place. The first named is chiefly 
 distinguished as the founder of an important school. 
 Canachus worked in bronze, gold, wood, and ivory. 
 Though a sculptor of merit, he never divested himself of 
 the traditions of the earlier artists, and his style was of 
 great severity. Cicero said, " The statues of Canachus
 
 ARISTOCLES AND CAXACHUS. 5 
 
 are too stiff to be true to nature." He executed at Cor- 
 inth a statue of Venus in gold and ivory, and at Thebes 
 a colossal statue of Apollo in cedar-wood. 
 
 His most important work Avas an Apollo in bronze 
 executed for the sanctuary of Didyma\ near Miletus, in 
 Asia Elinor. An antique statuette after this figure is in 
 the British ^luseum. It represents tlie god standing in 
 a quiet attitude, with one foot slightly advanced, holding 
 a diminutive fawn in one hand, while the other is bent 
 as though originally holding a bow. The works of this 
 master are probably to be placed at the end of the sixth 
 and the beginning of the fifth century. 
 
 AGELADAS. 
 
 AGELADAS, chief of the school of art at Argos, was 
 a sculptor in bronze who labored about 500 b. c. 
 He executed two statues of Jupiter and two of Hercules, 
 representing each as a man and as a boy ; he was the author 
 also of various groups. It appears that his works were 
 highly esteemed, though he is chiefly renowned as the 
 master of the three greatest sculptors of Greece, — Phi- 
 dias, Myi'on, and Polycletus. 
 
 Of the true style of his individual works no informa- 
 tion is to be gathered, though from the productions of 
 other artists of this school some idea may be gained of 
 the progi'ess of art. 
 
 Glaucus and Dionysius of the school of Argos are 
 mentioned as autliors of numerous statues and groups, 
 and some of their works are greatly praised by Pausanias.
 
 6 SCULPTORS OF ANTIQUITY. 
 
 GALLON AND ONATAS. 
 
 THESE two names are conspicuous in the art history 
 of Egina. Working in bronze and marble, these 
 artists executed a large number of images of the gods for 
 different sanctuaries of Greece, and probably took part in 
 the ornamentation of the famous temple at Egina. The 
 pediment sculptures of this temple were discovered by a 
 society of archaeologists in Egiua in 1811. Purchased by 
 the king of Bavaria, and taken to Munich, they were 
 restored by Thorvaldsen, and now form the most valu- 
 able treasure of the Glyptothek, rivalling in interest the 
 marbles of the Parthenon. Both pediments represent 
 scenes in the contests of the Greeks before Troy, the 
 composition in each being essentially the same, though 
 repeated with slight deviations. The figures are of admi- 
 rable proportions and of expressive attitudes, while most 
 of the faces are marked by an almost idiotic vacancy. 
 Dr. Llibke says : " High as the Eginetan artist stands in 
 the perfect execution of the natural form, well as he suc- 
 ceeds in every indication of physical power, he is unable 
 to denote the emotions of the mind by any variety of 
 expression. The heads of his warriors have all the same 
 stiff smiling character which is common to the old statues 
 of the gods, and is also apparent in his Minerva. Hence 
 the figures are deficient in that high intellectual life 
 which is only felt when every action receives its explana- 
 tion and reflex in the accompanying expression of the 
 countenance." The eastern group, however, shows a higher 
 style in the treatment of the heads, and Herr Brunn, in 
 concluding a critical discourse upon these works, says : 
 " The west group may correspond with the idea which we
 
 GALLON AND ONATAS. 7 
 
 have been wout to form of the art of Gallon, while the 
 east group reminds us of the higher eulogiums with which 
 Pausanias mentions the art of Onatas." 
 
 CALAMIS. 
 
 CALAMIS was a Greek sculptor, who flourished about 
 450 B. c, at Athens, it is supposed. He worked 
 in bronze, ivory, gold, and marble, but chiefly in bronze. 
 He represented a greater variety of subjects than any of 
 the earlier masters. Among his works were many figures 
 of the gods, and he executed, besides, heroic scenes, in 
 which were human figures, chariots, and horses, the latter 
 remarkable for life and beauty. Some of the works of 
 Calamis were of colossal size, as a bronze Apollo, sixty 
 feet in height, which was taken from ApoUonia by Lucul- 
 lus, and erected in Rome. His human figures were not 
 entirely free from constraint, though finely finished ; the 
 modelling of horses he carried to the highest perfection. 
 It is said that Praxiteles replaced a charioteer of Calamis 
 by one executed by himself, that the horses might not 
 surpass their driver. 
 
 Tlie Apollo Belvedere, in the Vatican, one of the most 
 celebrated statues in the world, is supposed by some 
 students of art to be copied after an Apollo by Calamis. 
 It was found among the ruins of Antium about tlie be- 
 ginning of tlie sixteentli century, and received its name 
 from having been first placed in the Belvedere of the 
 Vatican. It has been called also tlie Pythian Apollo, as 
 it was by some suppo.sed to represent the god as discharg- 
 ing the fatal arrow at the dragon Python, who rendered
 
 8 SCULPTORS OF ANTIQUITY. 
 
 the oracle at Delphi inaccessible. In the latter part of 
 the eighteenth century, a bronze statuette was found in 
 Paramythia, near Yauina, in European Turkey, which 
 essentially corresponds with the marble statue, prov- 
 ing that they were copied from the same original, and 
 that the god did not hold an arrow, but the segis with the 
 gorgoneia, in the act of putting to flight some dreaded 
 enemy. This statuette is in the collection of Count 
 Stroganoff, in St. Petersburg. The hands of the Apollo 
 Belvedere have been restored, incorrectly it is thought. 
 The head and attitude are most dramatic in expression ; 
 the eyes, lips, and nostrils are full of excited feeling, and 
 in the turn of the head there are mingled determination 
 and triumph, Winckelmann declares it to be more than 
 mortal ; he says, " The mind must soar to the realm of in- 
 corporeal beauty, and strive to imagine a celestial nature." 
 Others do not share in this extravagant admiration, but 
 regard it as superficial in its elegance. The hair is criti- 
 cised as being of an affected nicety, and the whole bear- 
 ing is considered as too conscious. A marble head, not 
 long since discovered in Eome, and now in the Museum 
 at Basle, was undoubtedly copied from the same original 
 as the Apollo in the Vatican, and is more simply treated. 
 It has the same characteristics of feature, but there is a 
 more natural arrangement of the hair, and the face has 
 the expression of conscious power, without the air of 
 pride and contempt which characterizes the Apollo Bel- 
 vedere.
 
 PYTHAGORAS. 
 
 PYTHAGORAS. 
 
 PYTlIAGOPiAS was a noted sculptor, Lorn at Ehe- 
 giinn, in ^lagna Groecia. In the history of ancient 
 art he may be considered as occupying about the same 
 rank as Calamis, though exhibiting a more strict adher- 
 ence to nature. His works were delicately finished ; and 
 of his delineation of the human form, it is said that his 
 first object was rhythm and symmetry ; that is, that he 
 aimed at the harmony of the entire figure, — at the perfect 
 agreement of each separate part, and its accordance with 
 the whole. His most famous works were statues of ath- 
 letes, one of which was declared to surpass a work of 
 ^fyron. Like Calamis, he excelled in the representation 
 of animals. 
 
 A few works among the remains of antique art are re- 
 garded as copies of the productions of Pythagoras, and as 
 embodying, to some extent, his peculiar characteristics. 
 One of these is a limping figure of the archer Philoctetes, 
 upon which an epigram was written making the wounded 
 hero complain that the artist had perpetuated his suffer- 
 ings in bronze. 
 
 MYRON, 
 
 MYPtOX was an eminent Greek scul[)tor, born in 
 Bteotia, about 480 b. c. He was the most impor- 
 tant of a grou]) of artists who flourished at the period 
 just preceding that in which Greek art attained its high- 
 est excellence. He was a pupil of Ageladas, and as an 
 indej)endent sculptor his fame became very great and 
 widely extended. Hu excelled es])ecially in the delinea-
 
 10 SCULPTORS 01^ ANTIQUITY. 
 
 tion of manly strength and vigor, generally choosing for 
 representation some momentary action involving great 
 energy or skill. He also excelled in sculpturing animals. 
 
 Myron worked chiefly in bronze, and produced a large 
 number of works, consisting of gods, heroes, athletes, and 
 a variety of animals ; female figures he rarely repre- 
 sented, and never, it is said, those in which grace and 
 sweetness were expressed. Among his most admired 
 works was a Discobolus in bronze, and there are various 
 similar statues in marble existing, which are believed to 
 be copies of this work. The one in the Palazzo Massimi, 
 in Kome, found on the Esquiline, in 1761, is considered 
 the finest. Another is in the Vatican, in the Sala della 
 Biga, but is regarded as inaccurately restored. A third, 
 which was found in 1791, in the Villa Adriani, near Tivoli, 
 is in the British Museum. 
 ( The figure of a cow, which this sculptor modelled with 
 wonderful truth to nature, was very celebrated among the 
 ancients, though there is no exact description of it. It 
 stood in the time of Cicero on the Acropolis, at Athens, 
 but was subsequently removed to the Temple of Peace, at 
 Eome. Various epigrams were suggested by this work : 
 " Myron did not model this cow ; time changed it into 
 bronze, and he passed it off as his work." " Shepherd, take 
 thy cows further away, lest thou also take that of Myron." 
 
 In this master's work, Greek art may be considered as 
 
 having reached its highest attainment, so far as relates to 
 
 the representation of j)hysical perfection and freedom of 
 
 action. A higher intellectual value, and the expression 
 
 . of a more exalted feeling, were all that remained for its 
 
 / perfection. 
 
 Lycius was the son and pupil of Myron, and the author 
 of various statues and groups in bronze.
 
 PHIDIAS. 11 
 
 PHIDIAS. 
 
 PHIDIAS, or Fheidias, regarded as the greatest sculp- 
 tor of all ages, was born at Athens, probably about 
 480 B. c. His father's name was Charmidas, or Charmi- 
 des. The records of his life are very meagre, and are 
 contradictory at that, but the sublime character of his 
 productions is well understood, and his influence upon the 
 art of all time is gratefully admitted. 
 
 "We are told that his first instructor in art was Hegias, 
 of Athens, and that he afterwards became the pupil of the 
 eminent Ageladas, of Argos. It is probable that his in- 
 dependent career as a sculptor commenced at an early age, 
 as he labored in the time of Cimon, who commenced the 
 work of restorintr the shrines of Athens, which had been 
 destroyed by the Persians. After Cimon was sent into 
 exile, and Pericles " became sole master of Athens," the 
 most brilliant period of Grecian art commenced. The 
 work of restoration was continued on a still more magnifi- 
 cent scale, and the sculptor Phidias became the influential 
 friend and important assistant of the great statesman in 
 carrying out his plans for the erection of monuments and 
 temples such as had never been equalled in beauty and 
 richness. Some of the ripest years of the artist's life 
 were spent in rebuilding and adorning the Parthenon, 
 that most exquisite example of Grecian architecture. 
 I^ter in life he executed at Elis his grand colossal statue 
 of Jupiter. On his return to Athens, party spirit had be- 
 come so bitteragainstPericles, that, according to tradition, 
 Phidia-s, as his friend and adherent, became the victim of 
 the hostile party. He was accused of embezzling a por- 
 tion of the gold furnished for his work, and also of bias-
 
 12^ SCULPTORS OF ANTIQUITY. 
 
 / 
 / 
 
 pliemy in placing liis portrait and that of Pericles upon 
 the shield of the goddess Minerva. We are told that he 
 was thrown into prison, where he died not long after, as 
 some authorities declare, by poison. It is also stated that 
 he fled to Elis to escape punishment at Athens, and was 
 imprisoned for embezzlement there. Others believe that 
 he died at Elis, and that the stories of his imprisonment 
 and death as a criminal are fabrications. In support of 
 this belief are accounts of the great honors which were 
 paid to his memory. His works were regarded with the 
 greatest veneration, and in his studio, which was pre- 
 served with religious care, an altar was erected and con- 
 secrated to the gods. 
 
 Phidias was the great sculptor of the gods, and in the 
 sublime spirituality of his creations he has never been 
 approached. His figures were distinguished for the high- 
 est perfection of form, but the outward beauty was only 
 a vehicle for the most exalted spiritual expression. He 
 never represented the goddess of Love except as Venus 
 Urania, investing her with a spiritual and divine beauty, 
 rather than with the loveliness which charms the senses. 
 His statues of Minerva were embodiments of the most 
 exalted purity and dignity. There was a Greek epigram 
 which declared that only a cow-keejjer like Paris would 
 prefer the Venus of Praxiteles to the Minerva of Phidias. 
 
 Among the important early works of Phidias was a 
 group of bronze statues, presented as a dedicatory offering 
 to Delphi by the Athenians, after the victory at Mara- 
 thon. The central figure of the group was the Athenian 
 general, Miltiades, the hero of Marathon, surrounded by 
 Minerva, Apollo, and the Attic heroes. Among his early 
 works were also several colossal statues of Minerva. One 
 of these was a brazen statue, executed from the spoils of
 
 PHTIIAS. 13 
 
 Marathon, and placed on the Acropolis. It was about 
 seventy feet in height, and from its elevated position the 
 crest of the helmet and point of the lance could be seen 
 from a great distance. 
 
 To the second epoch in the career of Phidias belong tlie 
 sculptures of the Parthenon. ]\I. Louis Yiardot says of this 
 period, and of its crowning work : " The marbles of the 
 Parthenon belong to that supreme moment in the history 
 of the arts of a polished nation, when with the innocence 
 and purity of the early ages were combined the science, 
 the grace, and the force of the mature epoch, as yet with- 
 out any intermixture of the faults of the decadence. Fori] 
 the arts of Greece, this exceptional moment was the age ! 
 of Pericles. Pheidias is the connecting link : he lived at 
 the time of the assimilation. Something of the same kind 
 would have occurred had Piaphael more nearly resembled 
 Giotto ; Michael Angelo, Nicolas of Pisa ; Palladio, the 
 Gothic architects ; the music of Mozart, the chorales of 
 Luther; — in a word, had masterpieces always retained 
 more of the spirit of early efforts. In this sense tlie 
 sculptures of Plieidias appear to me more perfect even 
 than the pictures of Paphael, the statues of Michael 
 Angelo, tlie monuments of Palladio, or tlie operas of 
 Mozart. This is why we may call them the finest works 
 of art ever produced by human genius." 
 
 The temple of the guardian goddess Minerva (Athene, 
 from whom the city takes its name) was called the Par- 
 thenon, or "Virgin's Chamber." The original structure 
 had been demoli.shed by the Pei-sians, but in the time 
 of Pericles it was rebuilt, by the architects Ictinus and 
 Callicrates, and ornamented by Phidias and his col- 
 leagues. The site, upon the elevated rock of the Acrop- 
 olis, and also tlio i)roportions of the ancient temple, wure
 
 14 SCULPTORS OF ANTIQUITY. 
 
 retained. It was of white marble, on a base approached 
 by three steps, two hundred and twenty-eight feet in 
 length, by one hundred in width. The height to the top " 
 of the pediment from the upper step of the stylobate was 
 fifty-nine feet. It was surrounded by a portico of col- 
 umns thirty-four feet in height and six feet in diameter, 
 eight beneath each pediment, and fifteen upon each side, 
 exclusive of those at the ends of the pediment, — forty-six 
 in all. Within the outer portico was a second, formed of 
 isolated columns, and two steps higher than the outer row. 
 Professor Felton, in his description of the Parthenon, says 
 in regard to the delicacy of construction revealed by sci- 
 entific investigation in this wonderful buildino-: "The 
 lines, which in ordinary architecture are straight, in the 
 Doric temples at Athens are delicate curves. The edges 
 of the steps and the lines of the entablatures are convex 
 curves, l^'ing in vertical planes, and nearly parallel ; and 
 the curves are conic sections, the middle of the stylobate 
 rising several inches above the extremities. The external 
 lines of the columns are curved also, forming a hyperbolic 
 entasis. The axes of the columns incline inwards, so that 
 opposite pairs, if produced sufficiently far, would meet. 
 The spaces of the intercolumniations and the size of the 
 capitals and columns vary slightly according to their 
 position. From the usual point of view these variations 
 and curves are not perceptible ; but they produce by the 
 combination the efl'ect of perfect harmony and regularity." 
 
 The interior of the temple was divided into two un- 
 equal portions ; the larger one, upon the eastern side, con- 
 taining the statue of the goddess, and the one upon the 
 western side being used as the treasury of the city. 
 
 Upon the eastern j)ediment, the sculptures related to 
 the birth of Minerva, and consisted of independent statues
 
 PHIDIAS. 15 
 
 resting upon the deep cornice. The central portion of 
 the sculptures of this pediment disappeared long since. 
 Upon the western pediment is represented the dispute of 
 Minerva with Neptune, respecting the land of Attica. In 
 the seventeenth century, the French artist Carrey made 
 a study of the sculptures of the Parthenon, and from care- 
 ful drawings made by him the arrangement of the scenes 
 upon the pediment are determined. 
 
 Upon the metopes are represented in relief the battles of 
 Hercules and Theseus, of the Centaurs and Amazons, and 
 perhaps figures from the Persian war. The frieze around 
 the upper border of the cella represents the Panathenaic 
 festival instituted in honor of Minerva. This took place 
 once in four years, and was the highest festival of the Athe- 
 nians. The peplos, woven and embroidered by the Athe- 
 nian maidens, was borne to the temple of the goddess in 
 procession. In the reliefs of the frieze the sacred garment 
 is preceded by figures of gods and goddesses, and followed 
 by virgins with offerings, horsemen, chariots, and sacri- 
 ficial animals. The conception of these works exhibits 
 the marvellous power of imagination which distinguished 
 their author, and the modelling and execution show his 
 unrivalled skill. Full of the most spirited action, they are 
 yet remarkable for the utmost grace and majesty. Dr. 
 Liibke says : " So inexhaustible is the imagination of the 
 master that, amid all the hundreds of figures, no two can 
 be pointed out alike. Like some great musician, he is 
 able to produce wonderful stories from the simplest 
 theme, and from an insignificant germ he brings forth a 
 blossom fraught with perfect beauty." 
 
 Within the Parthenon was the colossal statue of Minerva 
 in ivory and gold, rei)resentiug the goddess holding a spear 
 in one hand, and a figure of Victory in the other. Tlie
 
 16 SCULPTORS OF ANTIQUITY. 
 
 general character of the statue is known through antique 
 copies, the finest of which is in the Villa Albani, in Eome ; 
 another copy is in the Naples Museum, and a. third in the 
 Louvre. » 
 
 In later times, the Parthenon became a temple of the 
 Virgin, and after that a Turkish mosque. In 1687, when 
 the Acropolis was besieged by the Venetians, a bomb 
 j)iercing the roof of the Parthenon came in contact with 
 a powder magazine, and caused the ruin of the splendid 
 structure. The temple was in part dismantled by the 
 Venetians, and in later days other portions of the sculp- 
 tured ornaments were carried away to different places. 
 At the beginning of the present century, Lord Elgin, 
 during his embassy to Constantinople, obtained permis- 
 sion to take from Greece such works of art as he desired, 
 and accordingly took possession of the remaining decora- 
 tions of the Parthenon. These are now the property 
 of the English government, and occupy a room in the 
 British Museum. Of this transaction M. Viardot says : 
 "It cannot be denied that the Greeks of the present day, 
 seeing the ancient temple of their Acropolis despoiled of 
 its ornaments, have a right to curse the depredators. But 
 when it is remembered how often these works have been 
 ill-treated, how totally the chief statues have been de- 
 stroyed, how much the others have been mutilated, and 
 the danger the latter were in of being destroyed in their 
 turn, — when they consider that these precious relics of 
 art are now in a place of safety, in the centre of artistic 
 Europe, — the wish, and almost the right, to reproach the 
 English for dismantling their temple, must pass away." 
 r The statue of Jupiter, executed by Phidias for the 
 temple of Olympia, at Elis, was esteemed one of the 
 seven wonders of the world. The temple was of marble.
 
 PHIDUS. 17 
 
 surrounded with a peristyle, and, according to Pausanias, 
 was two hundred and thirty feet in length, ninety-five 
 feet in width, antl sixty-eight feet in height from the 
 foundation to tlie pediment ; the whole adorned with 
 sculptures of the most elaborate description. This mag-1 
 nificent structure was the shrine of the grand figure, 
 of which it was said, " Either the god descended from 
 heaven to show his form, or thou, I'heidias, didst go up 
 to behold the god." It was nearly sixty feet high, seated 
 npon a throne, crowned with olive, and holding in one 
 hand a sceptre surmounted by an eagle, and in the other 
 a figure of Victory; embodying, to the Greeks, the highest 
 ideal of supreme majesty. This statue, like the IMiuerva, 
 was of gold and ivory, and the throne and footstool were 
 of ivory, gold, ebony, and precious stones. The head of 
 Jupiter was slightly inclined forward, adding benignity 
 to its solemn and majestic expression. According to the 
 legend, Phidias, standing before his completed work, 
 prayed for a token of the god's approval, M-hen a flash of 
 lightning from a cloudless sky passed through an oj^ening 
 in the temple roof into the pavement beside him. 
 
 Quintilian says the creation of this image of the god 
 gave deeper intensity to the religion of Greece. Pilgi-im- 
 ages were made to it, and in its august and benign pres- 
 ence cares and sorrows were forgotten. 
 
 The master's work long survived the worship of the god 
 himself; the image and its shrine were destroyed in the 
 fifth century of the Cliristian era. 
 
 A knowledge of the character of this work is based upon 
 the copies on the ancient coins of Elis. Later cbpies in 
 marble probably convey some idea of the grandeur of the 
 original, as the bust of Jupiter discovered at Otricoli, now 
 in the Vatican. 
 
 2
 
 18 SCULPTORS OF ANTIQUITY. 
 
 From the slow but sure destruction of time, and the 
 sacrilegious hands of men, only fragments of the works of 
 Phidias remain ; but these are sufficient to prove that he 
 was perfect master of the whole field of art. He was 
 equally at home in the creation of the grand and colossal, 
 and in the delicate and minute, knowing always how to 
 produce the forms and combinations most enchanting to 
 the eye ; but his supreme endowment was the power 
 to evoke the highest spiritual expression. 
 
 ALCAMENES. 
 
 A LCAMENES was born in Athens, and labored in 
 -L\. the fifth century B. c. He was the most important 
 pupil of Phidias, and ranks next to him among the Greek 
 sculptors of his age. He was especially famous as a caster 
 in bronze, though he worked in marble, and also in gold 
 and ivory. He was, like his master, a celebrated sculptor 
 of the gods ; most of his works were of an ideal char- 
 acter, and were treated in an original manner. The most 
 noted work of Alcamenes was his Venus of the Gardens, 
 which is now lost. It stood in the temple of the god- 
 dess in the garden outside the eastern wall of Athens. It 
 was greatly admired for its majesty and beauty, in which 
 the sculptor was thought to approach his master very 
 nearly. In the opinion of Dr. Llibke the ideal beauty of 
 this statue can best be realized in the Venus of Melos, a 
 much mutilated, but very beautiful figure, which is the 
 most beautiful specimen of antique sculpture in the 
 Louvre, and perhaps the most admired statue in exist- 
 ence. It was named on account of the supposition that
 
 ALCAMENES. 19 
 
 it is a Venus Victrix, aud from the fact that it was found 
 (in 1820) near the town of Melos, in the island of that 
 name. Dr. Llibke does not assume it to be a copy of the 
 work of Alcamenes, but believes that it affords an ap- 
 proximate idea of the types of this epoch. He says : 
 " This is the only statue of Venus that has come down to 
 us which represents the f/oddcss, and not merely a beauti- 
 ful woman. The power and grandeur of form, over which 
 the infinite charm of youth and beauty is diffused, is in 
 harmony with the pure and majestic expression of the 
 head, which, free from human infirmity, proclaims the 
 calm self-sutficiency of divinity." The face wears a self- 
 sustained, though far removed from a self-conscious look ; 
 the whole figure presents the most perfect union of dignity 
 and simplicity. The matchless form and features seem 
 the external mould of a pure and lofty spirit. The 
 opinion has been expressed that the Venus of Medici, 
 attributed to Cleomenes, an artist who flourished at a 
 later period, might be the work of Alcamenes, but it be- 
 longs to a totally different class of art, and in all prob- 
 ability to a later time. Unlike the Venus of Melos, the 
 physical predominates in this work, and the charm of the 
 highest spiritual beauty is wanting. 
 
 Fortunatelv, the Venus of Melos has suffered from res- 
 toration to only a very small extent. The present guar- 
 dian of sculpture in the Louvre strenuously opposes any 
 experiment in the way of restoring any remains of antique 
 sculpture, and there is evidently an increasing conviction 
 that all examples of ancient art should remain as time 
 lias transmitted them to us. "When Paris was besieged 
 by the Germans, tliis highly prized statue was boxed and 
 buried beneath the rrefecture of Pulice ; when this dan- 
 ger was past, the Comnmne burned the Prefecture to the
 
 20 SCULPTORS OF ANTIQUITY. 
 
 ground, but a water-pipe bursting near the buried treas- 
 ure saved it from destruction. The ordeal, however, had 
 caused a separation of the figure at the waist, where it 
 had been broken and joined with cement. It was found 
 that wooden wedges had been inserted, which had given 
 a somewhat ungraceful inclination to the figure. These 
 were removed and the two sections closely joined, which 
 now gives to the figure the queenly pose probably de- 
 signed by the sculptor. " ^ 
 
 Alcamenes was the author of a Juno, or Hera, and the 
 beautiful marble head in the Villa Ludovisi, in Eome, it 
 is conjectured, may be after that of Alcamenes, though 
 sometimes regarded as a copy of the Juno of Argos by 
 Polycletus. It is a head of striking beauty and majesty, 
 expressive of great energy of character united with the 
 utmost feminine grace and purity. 
 
 Asclepius, the god of medicine, was first represented by 
 this sculptor. A fine copy of the type which he created 
 is one which was found in the island of Melos near what 
 is supposed to have been a temple of Asclepius, as near 
 it was discovered a tablet dedicated to the god and to 
 his daughter Hygeia. It is now in the British Museum. 
 This is a fine head, and bears so mucli resemblance to 
 that of the Jupiter of Phidias, that there is some doubt 
 as to which of the two gods it represents. It has, how- 
 ever, more of an expression of human sympathy and of 
 benevolence, while lacking something of the sublimity of 
 the other. 
 
 A statue of Hephaestus, or Vulcan, at Athens, by Al- 
 camenes, was greatly admired. This god is represented 
 in art as an aged man, hammering at an anvil, and indi- 
 cating by his attitude the lameness which, according to 
 the myth, he was afiiicted with. Alcamenes indicated his
 
 ALCAMENES. 21 
 
 infirmity with so much delicacy as iu no ^Yise to detract 
 from the godlike dignity of his figure. 
 
 It is related that Phidias and Alcamenes were ordered 
 by the Athenians to execute each a statue of IMinerva to 
 be placed upon columns. "When the statues were finished, 
 that of Alcamenes was the most admired ; but after they 
 were raised upon their columns it was found that Phidias 
 had best anticipated the eflect when placed in the ele- 
 vated position for which they were intended, and the final 
 decision was in his favor. 
 
 It is believed that Alcamenes may have been the author 
 of some of the sculptures of the Parthenon. 
 
 AGORACRITUS. 
 
 AGOPiACTiITUS is mentioned in history as the fa- 
 vorite pupil of Phidias, though what is known of 
 his productions proves that he was not gifted with especial 
 originality. The intimacy between the master and his 
 pupil may have arisen from other cau.ses than a similarity 
 of genius. It is believed that Pliidias assisted him in the 
 execution of his works, and sometimes gave them the 
 finishing touches ; consequently most of his works were 
 ascribed doubtfully to him or to his master. In the few 
 works regarded as wholly his own, however, there is traced 
 an affinity to the ideal bias of Phidias. The most famous 
 work of Agoracritus was a marble statue of Nemesis at 
 Pliannius. It has been calh-d the best work of Greek 
 art. There were two statues, Jupiter and Minerva, in the 
 temple of Minerva at Coroniea, ascribed to Agoracritus, 
 wliich were of much meiit and showed originality of
 
 22 SCULPTORS OF ANTIQUITY. 
 
 invention. The figure of Jupiter differed from the type 
 created by Phidias, being characterized by a touch of 
 gloom, so that it was designated as Hades by Strabo. 
 
 COLOTES. 
 
 COLOTES, or Colothes, was a Greek sculptor of He- 
 raclea, or, according to some authorities, of Pares. 
 He was a disciple of Phidias, and is said to have assisted 
 that master in the execution of the Olympic Jupiter. He 
 was, besides, the author of various independent works of 
 great excellence. His master-piece was an ivory statue 
 of Asclepius. Among his works is described a beautiful 
 table of gold and ivory, upon which the crowns for the 
 victors in the Olympian games were placed, at Elis. It 
 was richly ornamented with figures of the gods, and other 
 reliefs. A statue of Minerva upon the citadel at Elis, 
 executed in gold and ivory, was also the work of this 
 artist, and it was of such excellence as to liave been 
 ascribed to Phidias himself. 
 
 CRESILAS. 
 
 CPtESILAS, sometimes improperly written Ctesilas, 
 or Ctesilaus, was an eminent sculptor of Athens, 
 a younger contemporary of Phidias. It is said that he 
 took part in a competition with Phidias, Polycletus, 
 and Phradmon in the execution of a hgure of an Ama- 
 zon for the temple of Diana at Ephesus. The statue by 
 Cresilas was a wounded Amazon, and several existing 
 copies in marble are supposed to be after this work. The
 
 CRESILAS. 23 
 
 finest is that iu the Museum of the Capitol at Piome. 
 The attraction in the representation of this subject lies in 
 great part in the idea of that return to tender womanhood 
 which suflering has caused iu those who, possessed of a 
 warlike spirit, had for a time overstepped the natural 
 bounds of their sex. 
 
 A bust of Pericles, in the Glyptothek at ^Munich, it is 
 also thought, may be a copy after Cresilas. The celebrated 
 figure of the Dying Gaul, better known as the Dying 
 Gladiator, in the Capitol at Rome, has been attributed to 
 this sculptor. There would seem to be no doubt that the 
 statue represents a Gaul, and that the title of Gladiator is 
 erroneous. It is supposed that, at the approach of a vic- 
 torious foe, he has stabbed himself with his own sword to 
 escape captivity. But the surpassing power of the work 
 is independent of all theories and poetic inventions. To 
 the spectator it is a human being iu mortal suffering, 
 awaiting with a superhuman calmness the release of 
 death. There is no moral elevation of which we are 
 conscious, but there is a power of will, an unflinching 
 endurance, that awaken alike our amazement and our 
 admiration. The figure, half recumbent, is supported by 
 the right hand, which rests upon the ground ; the head 
 falls heavily forward, and the limbs seem to have moved 
 for the last time, though the currents of pain are almost 
 visible from head to foot. The rough hair, the hardy 
 frame, the protruding joints, tell plainly iu what harsh 
 school he learned the lesson of unquestioning endurance. 
 This famous statue is not now, however, attributed to 
 Cresilas, or any artist of the Attic school, but is reckoned 
 among the productions of the school of Pergamus. Fine 
 casts of it are to be seen in many of the collections of 
 antique sculpture iu America.
 
 24 SCULPTORS OE ANTIQUITY. 
 
 CALLIMACHUS. 
 
 CALLIMACHUS was a celebrated sculptor and archi- 
 tect, probably a native of Corinth or Athens. He 
 flourished in the fifth century b. c, or later, according to 
 some authorities. According to the testimony of Vitru- 
 vius, he is the author of the graceful capital of the Corin- 
 thian order of Grecian architecture. He was remarkable 
 for his technical skill, and his works were of extreme 
 finish, but they were wanting in the charm of nature. In 
 the Erechtheum at Athens was a remarkable golden can- 
 delabrum executed by Callimachus ; above it was a brazen 
 palm reaching to the ceiling to protect it from the smoke. 
 
 POLYCLETUS. 
 
 POLYCLETUS was one of the most eminent sculptors 
 of the best period of Grecian art. His works are 
 believed to have been executed between 452 and 412 
 B. c. He was a younger contemporary of Phidias, and 
 though his works were less remarkable for grandeur than 
 those of the great master, they exhibited a wonderful cor- 
 rectness and harmony of proportion, and his figures were 
 characterized by great softness and elasticity. He wrote a 
 book upon the proportions of the human figure, and exe- 
 cuted a most perfect statue as an exemplification of his 
 ideal of physical beauty. His favorite productions were 
 youthful figures harmoniously developed by manly exer- 
 cises ; and it is said that he was the first who represented 
 figures resting upon one foot with the other slightly raised.
 
 rOLYCLETUS. 25 
 
 Dr. Ltibke says : " Although Attic art exhibits figures in a 
 similar attitude, the advance made by Polycletus consists 
 in the fact that he made this kind of graceful position a 
 principle in his representations, and thus gave his figures 
 the appeamnce of extreme lightness and elasticity." 
 
 Polycletus excelled in statues of men rather than of 
 the gods, though among his works were some remarka- 
 ble representations of the latter. A colossal statue of 
 Juno, in the temple of the goddess at Argos, is mentioned 
 among his most excellent productions. A head of Juno, 
 in the Xajtles Museum, is supposed to be copied from the 
 ideal of Polycletus. It is of a noble style of beauty, but is 
 more austere in expression than the celebrated Ludovisi 
 Juno, which was once supposed to be representative of the 
 type created by Polycletus. An Amazon discovered in 
 Pome, in 1869, near the Baths of Diocletian, and now in 
 the Berlin Museum, is regarded as a copy of a work by 
 Polycletus. Other works exist, in which the character- 
 istics of this sculptor are to be traced. His position in 
 the history of Greek sculpture is of great importance, 
 and he had many pupils and followers. He was also 
 eminent as an architect. At Epidaurus he erected a the- 
 atre, which, according to Pausanias, was the most beauti- 
 ful in the world. 
 
 Polycletus the Younger was a pupil of Naucydes, 
 and executed some works of note in bronze and marble. 
 Among them was a bronze statue of Hecate, which was 
 placed beside that executed by his master and a statue 
 of the same goddess by Scopas. A statue of Jupiter by 
 the younger Polycletus exhibited the effort to transform 
 the character of the god from the aspect of sublimity to 
 that of human kindliness.
 
 26 SCULPTOES OP ANTIQUITY. 
 
 NAUCYDES. 
 
 NAUCYDES, an eminent Greek sculptor, was a native 
 of Argos, and flourished about 396 B. c. He was 
 one of the artists who were probably stimulated by the 
 influence of Polycletus, though not instructed by him. 
 Among his celebrated works is mentioned a statue of 
 Hebe in ivory and gold, which was placed beside the Juno 
 of Polycletus ; also, a bronze statue of Hecate at Argos. 
 He executed several bronze statues of victors in the 
 Olympian games. His figure of Phrixos offering a sac- 
 rifice was placed on the Acropolis of Athens in the temple 
 court of the Ergane. He produced a Discobolus and a 
 celebrated marble figure of a disk-thrower in the Vatican 
 Gallery is believed to be a copy of it. It represents a 
 youthful figure resting the weight of the body upon one 
 foot, while the other is slightly advanced as he prepares 
 for the decisive action. The suspended poise of the 
 graceful body, the intense expression of the well-shaped 
 head, which is inclined a little to suit the momentary 
 action of the body, are lifelike and full of charm. 
 
 CEPHISODOTUS. 
 
 CEPHISODOTUS, or Cephisodorus, (probably the 
 father of Praxiteles,) was an important sculptor of 
 Athens, who flourished about 370 b. c. He was cliiefly 
 a sculptor of the gods, and worked in marble and bronze. 
 Pliny speaks in high praise of his works, and mentions a 
 statue of Minerva and one of Jupiter among his produc-
 
 CEPIIISODOTUS. 27 
 
 tions, and also a group of the uiue Muses. A statue of 
 Irene, or Eirene, Avith the young Pkitus, by Cephisodotus, 
 is mentioned by Pausanias, and a Parian marble group in 
 the Glyptothek at ]\Iunich is now believed to be a copy 
 of this work ; it was formerly called Leucothea, the marine 
 deity. It represents Irene, the goddess of peace, bearing 
 Plutus, the god of riches, in her arms. It is above life- 
 size, and the form and attitude of the goddess are very 
 grand. The right hand lias been restored, erroneously it 
 is thought ; it is supposed to have originally held a scep- 
 tre, but is now represented pointing upward. 
 
 The works of Cephisodotus were less majestic than 
 those of Phidias, but they were of exceeding grace, and in 
 the history of sculpture he occupies a position which 
 marks the transition from the sublime art of Phidias to 
 the more graceful and passionate representations of Sco- 
 pas, and the dreamy creations of Praxiteles. 
 
 The group of the wrestlers in the Tribune of the Uffizi 
 is by some attributed to Cephisodotus ; others, from its 
 characteristics, believe it to be a production of the Eho- 
 dian .scliool. 
 
 Cephisodotus the Younger was the son of Praxiteles, 
 but is sometimes confounded in history with Cephisodotus 
 the elder. He worked in marble and bronze, and his 
 productions were highly prai.sed, but they showed a ten- 
 dency towards voluptuousness. Tim.\rchus was a younger 
 son of Praxiteles, also a sculptor, though of less impor- 
 tance than Cephi.sodotus. The two brothers executed 
 various works in common.
 
 28 SCULPTORS OE ANTIQUITY. 
 
 SCOPAS. 
 
 SCOPAS was a celebrated sculptor and architect, born 
 on the island of Paros. This island abounds in the 
 finest Greek marble, and the sculptures of Scopas were 
 chiefly of marble, though executed in various localities. 
 Very little is known of the life of this sculptor, but his 
 works, both in sculpture and in architecture, were held in 
 the highest esteem by the ancients. His subjects were 
 ideal, and he seems to have delighted in portraying the 
 graceful and the lovely, rather than the grand and solemn. 
 Unlike the calm seriousness of the creations of Phidias, 
 his personages were characterized by passion and emo- 
 tion. Some of his scenes, full of agitation and excite- 
 ment, are yet marked by the utmost grace of movement 
 and expression. 
 
 At an early period in his career he superintended the 
 erection and embellishment of the temple of Minerva 
 Alea, at Tegea, which, according to Pausanias, was one of 
 the most beautiful temples of Peloponnesus. In its con- 
 struction the three orders of columns, Ionic, Doric, and 
 Corinthian, were introduced ; the Ionic in the outer hall, 
 the Doric and Corinthian in the interior. The two pedi- 
 ments were richly ornamented with sculptures by the hand 
 of Scopas. Upon the front was represented the hunt of 
 the Calydonian boar, which included a great number of 
 figures in intense action. Upon the other pediment was 
 represented the contest between Telephus and Achilles. 
 Nothing remains of this magnificent work, and it is only 
 known througli the slight descriptions given by Pausanias. 
 
 About 350 B.C., Scopas was employed, in connection 
 ^vith three other sculptors, Bryaxis, Timotneus, and Leo- 
 
 (
 
 SCOPAS. 29 
 
 chares, by Artemisia, queen of Curia, to erect a magnifi- 
 cent monument to the memory of her husband ]\Iausohis, 
 though it is probable that the work was commenced during 
 the lifetime of the king. This monument was one of the 
 most splendid productions of antiquity, and ranked among 
 the wonders of the world. It was described by historians 
 as late as the twelfth century, and it was probably de- 
 stroyed by an earthquake at some period within the two 
 succeeding centuries. In 1404 the Knights of St. John 
 of Jerusalem took possession of the site of Halicarnassus 
 for the purpose of erecting their castle there. While 
 excavating among the ruins they discovered a large cham- 
 ber decorated with marble pilasters and richly wrought 
 panels ; also another large room containing the sarcoph- 
 agus of the founder. In 1856, excavations were made 
 under the direction of Mr. C. J. Newton, keeper of the 
 Grecian and lloman antiquities in the British INIuseum, 
 and many beautiful sculptures were found. These con- 
 sist of fragments of horsemen, marble lions, and other 
 animals, together with remains of a frieze of beautiful 
 design and execution. The finest portions of the frieze"~7 
 are perhaps only surpassed by the sculptures of the I 
 Theseum and the Parthenon. Mo.st of them are now iii-J 
 the British Museum. Fragments of a colossal statue of 
 ^lausolus were found, and have been joined together, only 
 small portions being wanting. This statue as an original 
 example of (Ireek portraiture is of great interest and 
 value. A colossal female statue of Nvonderful majesty 
 and beauty, though the head and arms are wanting, sup- 
 posed to be that of Artemisia, has also been discovered. 
 These statues are now in the British Museum. 
 
 The structure wa.s a rectangle, and, according to tlie 
 dimeu.sions given by Mr. Xcwton, 12G feet in length by
 
 30 SCULPTORS OF ANTIQUITY. 
 
 100 feet in width, and 65 feet in height ; upon this was 
 an Ionic colonnade 23| feet high, surmounted by a pyra- 
 mid of the same height, upon the apex of which were the 
 colossal statues of Mausolus and Artemisia in a quad- 
 riga, or four-horse chariot. It is known that the sculp- 
 tures upon the east side of the Mausoleum were the work 
 of Scopas himself, while those of the other sides were the 
 work of his colleagues. It seems probable that the bold 
 and masterly design was wholly due to the genius of 
 Scopas. The monument was originally called Ptcron, but 
 was afterwards called Mausoleum, and from this all sub- 
 sequent tombs took their name. 
 
 Scopas executed a great number of statues of the gods, 
 but there are no known copies of them existing. 
 
 PRAXITELES. 
 
 PRAXITELES, probably a native of Athens, was the 
 most eminent sculptor of the gods excepting Phidias 
 and Alcamenes, and labored about 360 B.C. Like Scopas, 
 he delighted in the forms of youthful loveliness and grace, 
 and he excelled in the expression of dreamy reverie. He 
 had not the profound veneration for the majestic and 
 superhuman character of the gods which inspired Phidias, 
 but his ideal siibjects were of the highest natural beauty, 
 and the most entrancing grace. His art may be consid- 
 ered as marking the transition fi-om the earnest and 
 reverent age that preceded the Peloponnesian war to the 
 more corrupt and sensual succeeding age. 
 
 The personages associated with Bacchus, or Dionysos, 
 were favorite subjects with Praxiteles and the sculptors
 
 PRAXITELES. 31 
 
 of his time. In the excavations at Olympia, in 1877 
 and 1878, were found fragments of a Hermes, or Mercury, 
 bearing the infant Bacchus to the care of Silenus and the 
 nymphs of Xysa, which are supposed to belong to a group 
 by Praxiteles. The head and trunk of the Hermes are 
 quite uninjured, and are of exquisite beauty and finish. 
 
 Among the principal works of Praxiteles were his 
 statues of Venus. The most beautiful of these was the 
 Venus of Cuidus, which was almost as highly esteemed in 
 its time as was the Jupiter Olympus of Phidias in the 
 earlier and purer epoch. The goddess was represented 
 standing in an easy and graceful attitude, entirely nude, 
 lifting her garment from a vase at her right hand. The 
 statue was placed in a chapel-like building, open at both 
 sides, where it could be viewed to advantage. An idea of 
 the general appearance of the figure is given by Cnidian 
 coins, but there are probably no copies among antique 
 statues which convey an adequate impression of its ex- 
 treme grace and beauty. A statue in Parian marble in 
 the Glyptothek at Munich is perhaps the most beautiful 
 existing copy of the Cnidian Venus. Another celebrated 
 statue of the goddess l)y Praxiteles was a draped figure. 
 
 The figures of Cupid by this sculptor were also famous 
 for their l)eauty and charm of expression. In the Vatican 
 is to be .seen a Cu])id toi-so copied after Praxiteles; the 
 graceful head is inclined forward, and the face wears a 
 peculiarly soft, dreamy expression. 
 
 Another copy from Praxiteles is tlie marble statue of a 
 Satyr, in the Vatican at Pome. It is a delicate, graceful 
 figure, resting the right arm upon the trunk of a tree, and 
 holding in the liand a flute, while the left hand rests 
 in an easy position at the side. Face and figure are in 
 peifect keeping ; the whole expression is full of sensu-
 
 32 SCULPTORS OF ANTIQUITY. 
 
 ous life, unmixed with passion, suggestive of sylvan 
 pleasures and an existence free from care. Other cele- 
 brated copies from the works of Praxiteles are tw^o statues 
 of Apollo ; the Apollo Sauroctonus (lizard-killer), in the 
 Louvre ; and the famous Apollino, in the Tribune of the 
 Ufl&zi in Florence. 
 
 Praxiteles was the author of various groups of the 
 deities, and also of single statues of goddesses of a grand 
 style of conception. The renowned Niobe group, in the 
 Ufiizi Gallery at Florence, has been regarded as a copy 
 from the work of Praxiteles or of Scopas ; but to which 
 artist the original is to be attributed neither the author- 
 ities of antiquity nor those of modern times have been 
 able to decide. The statues which comprise this group 
 were found in Rome, in 1583, near the Porta S. Paolo, 
 and were first placed in the villa of Cardinal Ferdinand 
 de' Medici on the Monte Pincio, whence they were 
 transferred to Florence. The. work illustrates the story 
 of Mobe, the wife of Amphion, who was the mother of a 
 numerous family of beautiful sons and daughters, and 
 proudly triumphed over her sister Latona, who had but 
 two children, Apollo and Diana. The latter avenged their 
 mother by slaying all the children of Niobe before her 
 eyes. When all save the youngest had fallen by the 
 arrows of the avenging deities, Niobe implored them in 
 anguish to spare this last one, who was kneeling and 
 clinging in terror to her. But it was in vain, and as the 
 fatal arrow struck the last victim, the despairing mother 
 was transformed into stone. A number of the figures are 
 of great beauty, but the chief charm of the group is the 
 grand figure of Niobe, which has been styled the " Mater 
 Dolorosa " of antique art. She accepts the cup of misery 
 which her proud assumption has mingled, and, though
 
 PRAXITELES. 33 
 
 draining it to the last drop, asserts in her whole bear- 
 ing the majesty of love and sufVering. The number of 
 the original group is not known ; those which are ac- 
 cepted with certainty are the mother with the youngest 
 daughter, the youngest son with his tutor, and four 
 daughters and six sons besides. The arrows are supposed 
 to descend from above, as the wounded and fleeing figures 
 are looking upward in alarm. Full of agitation and terror 
 as the scene is, every part of the composition is invested 
 with the spirit of beauty and nobleness. 
 
 Among the portrait statues by this sculptor were several 
 of I'liryne. Cicero regarded the expression which ani- 
 mated the heads of Praxiteles as the most admirable and 
 diflicult attainment of human skilL 
 
 LYSIPPUS. 
 
 LY.^IPPUS, the head of an important school of art, 
 was born at S icy on, and flourished about 325 B. c. 
 He was at the zenith of his artistic career in the time of 
 Alexander the Great, and that hero issued an edict that 
 no one except Lysippus, who excelled in portrait statues, 
 should represent him in sculpture. It is said that this 
 sculptrjr was able to produce from the various peculiari- 
 ties of Alexander's personal appearance a fitting expres- 
 sion of his heroic character ; and that he modelled the 
 likeness of the great commander at every stage of his life, 
 from boyhood upwards. 
 
 Lysipjius is remarkable as haviug introduced a more 
 attractive treatment of the human form by more slender 
 and elegant proportions. He declared that, while the 
 
 3
 
 34 SCULPTORS OF ANTIQUITY. 
 
 ancients had represented men as they were, he represented 
 them as they appeared to be. He devoted himself chiefly 
 to the representation of male figures, producing a great 
 variety both in portrait and ideal sculpture. To him has 
 been accorded the credit of having formed and perfected 
 the Hercules type, which of necessity combines the ideal 
 element with a vigorous, naturalistic style of art. The 
 Farnese Hercules by Glycon, a sculptor of Athens of un- 
 certain age, is a copy of a statue by Lysippus. It was 
 found in the Baths of Caracalla in Eome, and is now in 
 the Museum of Naples. The hero is represented resting 
 from his labors, leaning upon his club, which is covered 
 with the lion's skin. The broad-chested figure is power- 
 ful, and of a certain grandeur in its attitude of repose ; 
 the exaggerated display of muscles is supposed to be 
 attributable to Glycon, and not to Lysippus. 
 
 Among the works of Lysippus were various figures of 
 Jupiter, one of which was the bronze colossus at Taren- 
 tum, sixty feet in height. He executed the famous 
 bronze statue called the Apoxyomenos (scraper), which 
 Marcus Agrippa placed before his public baths near the 
 Pantheon, where it was greatly admired by the Eoman 
 people. A statue of an athlete, scraping his arm with a 
 small instrument, was found in the Vicole delle Palme 
 in Trastevere, in Eome, in 1849, which is supposed to be 
 a copy of the one executed by Lysippus. The beauty and 
 elasticity of the form, the elegance of the attitude, and 
 the finely shaped, intelligent head, seem to be character- 
 istic of the statues of this sculptor. The work is in the 
 Braccio Nuovo of the Vatican. 
 
 In the Villa Ludovisi in Eome is a statue of Mars, 
 probably a copy of a work of Lysippus, or by his school. 
 The god sits in the attitude of reverie, his shield by his
 
 LYSIPPUS. 35 
 
 side, his sword still in his haud, but forgotten ; while 
 a Cupid playing at his feet indicates that it is of love, 
 and not of war, that he dreams. From a mark upon 
 the left slioulder it is supposed that the ligure of Venus 
 once formed a part of the group. A beautiiully executed 
 head of ^sop, in the A'illa Albani, is sujtposed to be 
 alter Lysippus. In the Naples Museum, a bronze Mer- 
 cury in repose, found at Herculaneum in 1758, is also 
 supj>osed to be a copy from the work of Lysippus. 
 
 LvsiSTRATUS, the brother of Lysijipus, was also a sculp- 
 tor, but his works were inferior. He is, however, distin- 
 guished as being the first to make plaster casts from the 
 living model. 
 
 El'TIIYCRates, Daiitus, and Bcedas, sons of Lysippus, 
 were sculptors, and followed to some extent the style of 
 their father. The school of Lysippus comprised a very 
 large number of pupils and followers, among whom may 
 be mentioned Eutyciiides, a Avorker in marble and 
 bronze ; and Chares of Lindos, in the island of Ehodes, 
 who exhibited his powers in Avorks of a colossal scale. 
 His Colossus of the Sun was reckoned one of tlie seven 
 wonders of the world. This work occupied the sculptor 
 for twelve years ; it was of brass, one hundred and five 
 feet in height, and M'as said to have been placed at the 
 entrance of tlie harbor of Pihode-s, with the feet upon the 
 rocks, so j;laced that ships in full sail could pass between 
 them. After remaining in its place for fifty-six years, 
 it was overthrown by an earthquake.
 
 36 SCULPTORS OE ANTIQUITY. 
 
 AGESANDER. 
 
 AGESANDEE, one of the foremost sculptors of the 
 school of Ehodes, flourished about 450 B. c. His 
 name is immortalized by the execution of the famous 
 group of the Laocoon, in which he is supposed to have 
 been assisted by Athenodorus and Polydorus. From in- 
 scriptions it is inferred that they were father and sons. 
 
 The Laocoon group was found in the ruins of the pal- 
 ace of Titus, in 1506, and is supposed to have belonged to 
 the age of the first Emperors. Its discovery was cele- 
 brated in Eome by a fete under the ardent patron of art, 
 Julius II., and it is now one of the most valued of the 
 sculptures of the immense collection of the Vatican. It 
 is six feet and six inches in height, of pyramidal form, 
 Laocoon in the centre seated upon an altar, with his two 
 sons on either side, in the embrace of horrible serpents. 
 
 Laocoon, the priest of Neptune, had opposed the recep- 
 tion of the wooden horse by the Trojans, not sharing in 
 the belief that it was an object of religious veneration ; 
 and while he was about to sacrifice to his god upon an 
 altar by the sea, two serpents emerged from it and de- 
 stroyed him, with his two sons, who were assisting him. 
 His fate was believed to be a judgment sent upon him 
 for his offence against the sacred horse. 
 
 The group is a masterly portrayal of suffering, and the 
 terrible reality of the scene would be almost unendurable 
 were it not for the softening power of beauty and expres- 
 sion in the figures. The central and principal figure is a 
 powerful representation of the most hopeless physical 
 agony; the face, the attitude, and every contracting 
 muscle, betray the swift torture, from which death is the
 
 AGESANDER. 37 
 
 ouly escape. Some observers claim that the sculptor has 
 expressed in the coimteuauce of Laocoon grief and pity 
 for his sons, and indignant protest against unjust sutier- 
 ings. A profound student of art has said in reference to 
 these supposed discoveries : " To the miraculous organi- 
 zation of such expression, Agesander, the sculptor of the 
 Laocoon, was too wise to lay claim. His figure is a class ; 
 it characterizes every beauty of \irility verging on age ; 
 the prince, the priest, the father, are visible, but, absorbed 
 in the man, serve only to dignify the victim of one great 
 expression ; though poised by the artist, for us to apply 
 the compass to the face of Laocoon is to measure the 
 wave fluctuating in the storm : this tempestuous front, 
 this contracted nose, the immersion of these eyes, and, 
 above all, the long-drawn mouth, are separate and united, 
 seats of convulsion, features of nature strugcjling within 
 the jaws of death." 
 
 The right arm of Laocoon has been restored, and in 
 all probability incorrectly. From some marks in the 
 hair at the back of the head, it is supposed that, instead 
 of being extended, it was originally bent behind the head. 
 One who has examined a drawing of this group M'ith the 
 right arm represented in this way, must be struck with 
 the added pathos which it gives to the figure of Laocoon. 
 
 AGASIAS. 
 
 AGASIAS was a sculptor of Ephesus, who is sup- 
 jjosed to have lived about 400 b. c. He was the 
 author of the famous statue called the Fighting Gladia- 
 tor, also known as the Borghese Gladiator, now in the
 
 o 
 
 8 SCULPTORS OF ANTIQUITY. 
 
 Lotivre. It was fouud in the beginning of the seven- 
 teenth century at Capo cV Anzo, the ancient Antium, in 
 the ruins of the imperial palace. The trunk which sup- 
 ports the figure is inscribed Agasias of Uphesus, son of 
 JDositheos. (The relationship may have been that of mas- 
 ter and pupil, as it was often the case that a much re- 
 vered master was called " father " by his pupils.) 
 
 This statue is the embodiment of vigor and energy. 
 It represents a hero defending himself with one hand, 
 while raising the other for a vigorous blow. From his 
 attitude he is thought to be contending with an adver- 
 sary on horseback ; or it may represent some athletic 
 game in which the gestures of a fierce combat are imi- 
 tated. In the opinion of Lessing it is a statue of the 
 Athenian commander, Chabrias, who, in a campaign 
 against Agesilaus, in 378, ordered his men to await the 
 charge of the enemy with presented spears, and with the 
 left knee supported against the shield ; upon Avhich 
 Agesilaus feared to advance, and recalled his men. For 
 this manoeuvre Chabrias became famous throughout all 
 Greece ; and he desired that a statue should be erected 
 to him in this position. The form and attitude are beau- 
 tiful, though displaying the most vehement action, and 
 the development of the muscles exhibits perfect anatomi- 
 cal knowledge. These, together with the wonderful bal- 
 ance of the figure, awaken the highest admiration, though 
 one may never be able to decide whether it represents a 
 contestant in the Olympian games, or a hero contending 
 with a real adversary.
 
 CLEOMEXES. 39 
 
 CLEOMENES. 
 
 CLEO^IEXES was a celebrated Athenian sculptor of 
 about 370 b. c. He is not mentioned by any an- 
 cient author except Pliny, who records that Cleomenes 
 executed the group of the Muses called Thcspiadcs, which 
 was placed in the temple of Felicitas in Eome. His 
 name is found upon various fragments of ancient sculp- 
 ture, and it is inscribed upon one of the most famous 
 statues of antiquity now in existence, the Venus de' 
 ]\Iedici, in the Tribune of the Uffizi in Florence. This 
 statue was discovered about the middle of the fifteenth 
 century, as some say, in the garden of Nero, at Rome ; 
 according to others, at Tivoli, among the ruins of the 
 villa of Hadrian. It was first placed in the Villa de' 
 Medici, in Rome, and afterwards transferred to the Flor- 
 entine Gallery ; it was taken to Paris by Napoleon, but in 
 1815 was restored to its place in the gallery at Florence. 
 "When found, it was broken into thirteen pieces, and the 
 arms were missing. The fractures were so regular that 
 the statue was easily put together, forming a beautiful 
 figure, until it was thought necessary to restore the miss- 
 ing arms. This restoration has been made in such a 
 manner as to destroy the purity of idea wliich may have 
 characterized the original work. I\I. Viardot says : " It 
 would have been a tliousand times better if, instead of 
 feeling bound to restore the arms, which were missing, 
 the owners had left it mutilated, like our Venus of Melos, 
 leaving the spectator's own imagination to supply what 
 was wanting." In the opinion of Dr. Lubke this work 
 " remains far inferior in feeling to the works of the ear- 
 lier period. The beauty of a goddess in her unconscious
 
 40 SCULPTORS OF ANTIQUITY. 
 
 majesty is not represented here as in the Aphrodite of 
 Melos ; we see nothing but tlie charms of a coquettish 
 woman, who, from her apparently modest bearing, seems 
 to challenge the admirer, whose notice she is seeking. 
 Eor it is this very look, and this turn of the head, com- 
 bined with the position of the arms, which rob this statue, 
 exquisite as it is in itself, of its highest charm, namely, 
 that of chaste ingenuousness. The great number of 
 copies of this work sufficiently proves how much it har- 
 monized with the spirit of the time. Among these 
 statues, in which the theme of female beauty is treated, as 
 here, in a purely genre-like manner, we may number the 
 Venus crouching in her bath, in the Vatican and other 
 places ; also the frequently repeated work of Venus loos- 
 ening her sandal ; the Aphrodite Callipygus in the Mu- 
 seum at Naples, and the Medicsean Venus in the Capito- 
 line collection at Eome." Of the same voluptuous type of 
 art is the statue of Flora, the Roman goddess of flowers, 
 known as the Farnese Flora, now in the Naples Museum. 
 
 APOLLONIUS AND TAURISCUS. 
 
 APOLLONIUS and TAUEISCUS, sons of Arte- 
 midorus, were sculptors of Tralles, in Caria, who 
 probably flourished about 200 B. c. They labored to- 
 gether at Ehodes, and were the authors of a group rep- 
 resenting Amphion and Zethus tying Dirce to the horns 
 of a bull. The work, according to Pliny, was taken from 
 Rhodes to Rome, where it became the property of Asinius 
 PoUio. This group is identified with the one now in the 
 Museum at Naples, called the Toro Farnese. During the
 
 APOLLOXIUS AND TAURISCUS. 41 
 
 pontificate of Paul III. (1534-49), it was found near the 
 Baths of Camcalla, in a much mutilated condition, and 
 was restored under the superintendence of Michael Angelo. 
 At one period the work belonged to the Farnese family, 
 which gives it its name. It illustrates the tragic fate of 
 Dirce, the rival and persecutor of Antiope. Antiope's 
 two sons, Amphion and Zethus, had been brought up by 
 a herdsman of Mount Citha^ron, and, suffering from the 
 cruel persecutions of Dirce, Antiope fled to the home of 
 the herdsman and her children. But Dirce had also arrived 
 at Mount Cithteron to take part in some Bacchic ceremony, 
 and, recognizing her victim, ordered the two young herds- 
 men to bind her to the horns of a wild bull, that she miglit 
 be dragged to death. The old herdsman recognized Anti- 
 ope, and revealed her to her sons, who, in their indignation, 
 bound Dirce lierself to the horns of the buU, and j^ermitted 
 her to suffer the dreadful death. The group is said to have 
 been chiselled from a single block of marble ; the human 
 figures and the figure of the bull are all larger than life. At 
 the base are a shepherd boy, small animals of the chase, 
 and plants. It is a work of great boldness and power, 
 and full of dramatic life. The arrangement is picturesque, 
 and there is much beauty in the human figures, but there 
 is little to soften, to the mind of the spectator, the brutal 
 reality of the scene as a whole. The Toro Farnese is the 
 most extensive work of ancient sculpture which has been 
 preserved to us.
 
 42 SCULPTORS OF ANTIQUITY. 
 
 APOLLONIUS. 
 
 APOLLONIUS, son of Miston, or Nestor, of Athens, 
 was a sculptor, who probably lived in the first cen- 
 tury before Christ. He is supposed to be the artist who, in 
 the time of Pliny, executed a statue of gold and ivory for 
 the temple of the Capitoline Jupiter, which was being re- 
 stored after a fire. He executed the marble statue of Her- 
 cules, a famous fragment of which still exists, known as 
 the Torso of the Belvedere, in the Vatican, at Eome. In 
 the beginning of the sixteenth century this fragment of 
 the colossal Hercules was found at a place where the the- 
 atre of Pompeius had stood. It represents the powerful 
 figure of the god, seated, and apparently resting upon 
 his club, and is supposed to have been modelled after 
 a statue by Lysippus. It is remarkable for its combi- 
 nation of beauty and grace with energy, strength, and 
 elasticity. This fragment was the especial admiration of 
 Michael Angelo, who was wont to call it his master! Dr. 
 Llibke says : " Grand as is the whole design, and pow- 
 erful and ideal as is the entire conception, still in the 
 exaggerated softness of the execution, and in the evi- 
 dent aiming after effect, we trace the tendency of an art 
 which could only in external mannerism reproduce the 
 sublime simplicity of an earlier period. Of course this 
 verdict only refers to a comparison with works of the 
 highest art, as, for example, the Theseus of the Parthe- 
 non ; for, on the other hand, the torso occupies the first 
 place among all contemporary works of the kind, and still 
 more among all later ones."
 
 FAMOUS SCULPTORS AND SCULPTURE 
 
 OF 
 
 THE EEXAISSAXCE.
 
 Sculptors of the Renaissance. 
 
 NICCOLA PISANO. 
 
 THE date of this artist's birth is not known witli^ cer- 
 tainty ; Vasari places it between 1205 and 1207, 
 and this must be approximately correct. Very little is 
 known of his life or the circumstances of his artistic de- 
 velopment ; but in him the very spirit of the antique seems 
 to have revived. He was one of the chief restorers of 
 Italian art, and is perhaps justly called the pioneer of the 
 Renaissauce. About the middle of the thirteenth century, 
 when art was in a rude and almost lifeless state, when 
 furms were conventional, and decorations of a barbaric 
 splendor, he appeared, a fully developed artist, towering 
 high above all other artists of the time and of the preced- 
 ing centuries. At that time the trade of Pisa extended 
 over the whole Mediterranean, and her population was 
 recruited from distant parts ; and it is supposed that 
 Pietro, the father of Xiccola, was an emigrant from Apu- 
 lia, as in certain documents he is called Pietro de Apulia. 
 All that .seems certain, h6wever, is that Niccola became a 
 citizen of Pisa, and that he lived in the parish of S. lUa- 
 sius, of Ponte di Pisa. 
 
 Among the early works of Niccola, Vasari mentions a 
 relief which adorns the pediment of the northern side
 
 46 SCULPTORS OF THE RENAISSANCE. [12... 
 
 entrance of the cathedral of Lucca, "full of admirable 
 figures, finished with extreme care, the marble being 
 entirely perforated, and the whole completed in a manner 
 which gave hope to those who were previously pursuing 
 this art with weary steps, that a master was now about 
 to arise, from whose aid and example they might look for 
 greater facilities to their future progress than had yet 
 been enjoyed." The authenticity of this work has been 
 disputed, but it is not proved to be by another hand. 
 Three centuries later than Yasari, a celebrated writer on 
 art, in treating of the works of the Pisani, thus refers to 
 this relief : " The noblest monument of their chisel, or of 
 their school, the deposition from the cross in the lunette 
 above the portal of S. Martin of Lucca, may be admired 
 as the perfection of an art, which, developing itself at 
 Pisa, Sienna, and Perugia, seemed at last but to await 
 Michael Angelo to bring it to perfection. 'No example of 
 the century can be said to have combined in the same 
 degree skill in composition and grouping with boldness 
 of attitude, foreshortening, and vigor of handling, — a 
 deep study of nature and anatomy with lofty character 
 and expression." 
 
 Between this early work, 1233, and that on which his 
 fame as a sculptor chiefly rests, is an interval of nearly 
 thirty years. During this time he was much occupied as 
 an architect, though the numerous important buildings 
 attributed to him by Vasari differ too widely in style to 
 render it probable that he built them all. It is certain, 
 however, that he superintended the restoration of the 
 cathedral of Pistoia about 1240. 
 
 In the works of his mature time Mccola appears to 
 have been imbued with the spirit of antique art ; he had 
 travelled and labored in many places, and it is not improb-
 
 12...] NICCOLA PISANO. 47 
 
 able that he \isited Rome, where he was able to study the 
 works of antiquity ; though Vasari states that some an- 
 tique sarcophagi, brought home among other spoils by the 
 armaments of Pisa, first attracted the master to the Greek 
 style. About 12G0 he executed the famous marble pulpit 
 for the Baptistery at Pisa, in which this new style is prom- 
 inently exhibited. The structure is a hexagon in form, 
 supported upon seven pillars, while two more support the 
 staircase. Three of the columns are supported by the fig- 
 ures of lions with smaller animals in their claws ; three 
 male figures, and three animals, a grittin, a lion, and a 
 tiger or leopard, form the support of the central column. 
 At the beirinningr of the stairs is a recumbent fi<]rure of a 
 
 o o o 
 
 lion. The shafts of the columns are of a variety of stone ; 
 the two supporting the staircase are of Parian marble ; five 
 of the others are of different kinds of granite ; another 
 is of brocatello, and the last is of Sicilian jasper. There 
 are two marble desks ; one, for the reading of the Gospel, 
 is in the shape of a book, and projects from the side of the 
 pulpit ; the other, for the reading of the Epistle, rises from 
 the staircase, and rests upon a bracket column of broca- 
 tello. Above the columns are allei,'orical figures of the 
 Virtues, and figures of Propliets and Evangelists. The 
 subjects of tlie scenes in relief upon the five sides are the 
 Annunciation and the Birth of Christ, the Adoration of 
 the Kings, the Presentation in the Temple, the Crucifix- 
 ion, and the I^st Judgment. Tlie remaining side is occu- 
 pied by the staircase. In some of the scenes considerable 
 knowledge of the principles of composition is shown, and 
 they all exhibit a lively fancy and wonderful skill in the 
 delineation of the liuinau figure. The work is finished 
 with exquisite care, and the details are brought out with 
 almost disagreeable minuteness. For exanqde, the pupils
 
 48 SCULPTORS OF THE RENAISSANCE. [13... 
 
 of the eyes, the nostrils, the ears, the corners of the 
 mouths, were cut with a drill, and the perforations filled 
 with black paste. The hair and ornaments were covered 
 with gilding, traces of which are still to be seen. The 
 whole is sculptured in tlie highest relief, the figures 
 almost completely detached. These sculptures seem lit- 
 erally a renaissance of Greek art, — Burckhardt says, " a 
 premature renaissance, which just for this very reason 
 could have no continuance." 
 
 Without exhibiting any servile imitation, Niccola seems 
 more imbued in this remarkable w^ork with the religion 
 of the Pagans than with Christian feeling. Cavalcaselle 
 says : " None of the compositions of the pulpit more 
 strikingly illustrates the system of classic imitation pe- 
 culiar to Niccola than that of the birth of the Saviour. 
 In the middle of the space, the Virgin, recumbent on a 
 couch, would be a fit representation of the queenly Dido, 
 and the figure behind, pointing to her with a gesture and 
 apparently conversing with an angel, is more like an em- 
 press than the humble follower of a carpenter's wife in 
 Bethlehem ; Joseph, with an air of wonder, the two clas- 
 sic maids washing the infant in a basin, the sheep on 
 the foreground, and the episode of the Adoration of the 
 Shepherds, crowded in the right of the background, are 
 a strange and confused medley of antique forms and old 
 typical Christian conceptions of the subject. Of Chris- 
 tian sentiment not a trace is to be found. In the sym- 
 metrical arrangement of the Adoration of the Magi, the 
 florid Eoman style of the figures is most characteristic ; 
 but the irregular proportion of the figures, as compared 
 with each other, is striking. The heads are uncommonly 
 large, especially in the more distant figures. The angels 
 are not messengers of heaven, but Eoman antiques, and
 
 12...] NICCOLA PISAXO. 49 
 
 the horses are equally reminisceut of the old times of the 
 deeliuiug empire. lu the Presentation at the Temple, the 
 simple groups and figures are mere imitations also, whilst 
 in the Crucifixion the body of the martyred Kedeemer 
 reminds one of nothing more than of a suffering Hercules. 
 In the Last Judgment, which is the finest of the series, Nic- 
 cola's vigor and energy found play, lu the upper centre 
 the Saviour sat enthroned in a fine attitude, beneath him 
 the elect, the damned, resurrection, and Lucifer. It would 
 be ditticidt to find a better imitation of the classic nude in 
 various attitudes than is here to be noticed, especially in 
 females. Strange are the figures of the devils and Satan ; 
 the latter with a grotesque head and ears, the body and 
 claws of a vulture united to legs resembling those of an 
 ox. Equally so is the figure of a devil with the body of 
 an infant and a head as large as the torso, revealing the 
 features of one of those hideous masks peculiar to an- 
 tiquity. This curiously conceived devil seems to swallow 
 one of the arms of a sufferer convulsed with agony, as he 
 lies trodden down by the claws of Satan. The same study 
 of the classic was betrayed in all the isolated figures, such 
 as those at the angles below the cornice of the pulpit. In 
 the symbolical figure of Fortitude, the movement and 
 attitude, and the short, stout form, recalled the antique, 
 an antique of a coarse and fleshy character, but conven- 
 tional and motionless." 
 
 The introduction of the sheep and goats in the scene of 
 the Xativity adds much to the beauty of this relief, .and 
 is a fine .study of animal nature. Although so crowded, 
 the scenes and individual figures are very distinct. These 
 valualjle sculptures were deplorably damaged a few years 
 since by Lorenzino de' Medici, who caused many of the 
 heads to be broken off to adorn his study. 
 
 4
 
 50 SCULPTORS OF THE RENAISSANCE. [12... 
 
 A few years later Niccola executed for the cathedral 
 of Sienna a pulpit of still greater magnificence, and larger 
 than the one at Pisa. It is an octagon in form, and rests 
 upon nine columns ; the central one is surrounded at the 
 base by eight female figures, personifying the arts and 
 sciences ; above the capitals of the columns are statues of 
 the Virtues. The reliefs of the Nativity and the Cruci- 
 fixion are repetitions of those upon the pulpit at Pisa, 
 while those of the Adoration of the Magi and the Last 
 Judgment are differently treated, and two fine scenes are 
 added, — the Plight into Egypt and the Massacre of the 
 Innocents. These reliefs show an improvement in execu- 
 tion, are delicately finished, and abound in touches of 
 beauty and feeling. There are some inequalities which 
 may be attributed to the assistance of his pupils, several 
 of whom, among them his son Giovanni, shared in the 
 execution. The whole is richly ornamented. 
 
 The last work of Niccola was the Fountain at Perugia, 
 a beautiful structure, now much restored in its various 
 ornaments, but still a beautiful adornment of the piazza 
 between the cathedral and the Palazzo Pubblico. It was 
 designed by Niccola, and the work was superintended by 
 Giovanni. It consists of three basins, rising one above 
 another, the two lower of marble, the highest of bronze, 
 and the whole is very richly ornamented with statuettes 
 and reliefs. These represent Old Testament scenes, the 
 months and their occupations, the arts and sciences, with 
 figures of prophets, apostles, kings, and various allegorical 
 and heraldic designs. 
 
 No record of the death of Niccola Pisano is found, but 
 as he was still laboring as late as 1278 it is probable that 
 his life passed somewhat beyond the limit of threescore 
 and ten.
 
 12...] NICCOLA PISANO. 51 
 
 Among the pupils of Xiccola, Fra Guglielmo, a lay friar 
 of the Dominican order, is the most important, — except- 
 ing Giovanni Pisano, — and left various works executed 
 in the style of his master. Among these are figures upon 
 the fa(^ade of S. Michele in Pisa, and reliefs of the tomb 
 of S. Domenico at Bologna. The tomb was probably de- 
 signed by Xiccola, and completed by Fra Guglielmo. The 
 friar artist, of course, labored without pecuniary compen- 
 sation ; but being present when the bones of S. Domenico 
 were transferred to the new sarcophagus, he abstracted 
 one of the ribs to enrich the collection of relics of his 
 own convent at Pisa. The theft was never discovered, 
 and he escaped excommunication, but he could not die in 
 peace until he had confessed it. 
 
 Fra Guglielmo adhered conscientiously to the style of 
 Xiccola, though his works lack some of the strong char- 
 acteristics of the great master. 
 
 Arnolfo del Cambio and Tino di Camiano were dis- 
 ciples of Xiccola. 
 
 GIOVANNI PISANO. 
 
 /^ lOVAXXl I'ISAXO, or Giovanni da Pisa, was 
 ^SX born not far from the middle of the tliirteenth cen- 
 tury. He was the son and pupil of Xiccola Pisano, and 
 from his early youth appears to liave been the assistant 
 of his father in important works of art. Sculpture, which 
 imder the hand of Xiccola had gained so much in free- 
 dom and expression, was still further .advanced by Gio- 
 vanni, becoming more the vehicle of expression. Xature 
 was studied, and often directly copied, which gave life
 
 52 SCULPTORS OF THE RENAISSANCE. [12... 
 
 and animation to his productions, though sometimes at 
 the sacrifice of beauty. In the department of allegory 
 Giovanni exhibits an energy and power of creation which 
 are very marked. In the expression of religious feeling 
 his works are less satisfying. Though sometimes dis- 
 tinguished by an air of dignity and repose, his works 
 generally show a striving after dramatic effect, which 
 is opposed to the calm and serious expression requisite 
 to sacred subjects. An influence from the antique here 
 and there is indicated, but the tendency is to crowd the 
 composition with figures, and to portray the most lively 
 action. 
 
 Among the works attributed to Giovanni is the Ma- 
 donna del Fiore, which adorns the second south portal of 
 the cathedral at Florence. It is a majestic figure, and the 
 drapery is fine. The Virgin is standing in a dignified at- 
 titude, holding the Child, upon whom she is gazing with 
 a thoughtful expression ; in one hand she holds a flower, 
 
 Giovanni was the architect of the celebrated Campo 
 Santo of Pisa. This burial-place was founded about the 
 close of the twelfth century by Archbishop Ubaldo de' 
 Lanfranchi, w^ho caused a large quantity of earth to be 
 brought from Mount Calvary and deposited here. The 
 structure which now encloses it was commenced in 1278 
 by Giovanni Pisano, to whom the principal design is 
 probably due, though the building was not finished imtil 
 the latter part of the fifteenth century. It is about four 
 hundred and fifteen feet in length by one hundred and 
 thirty-seven feet in width, and is forty-six feet in height 
 to the roof of the cloister. " Following the ground plan 
 marked out by Archbishop Lanfranchi, Giovanni raised 
 his outer walls without windows, and with only two 
 doors looking towards the Duomo, that the frescos, with
 
 12...] GIOVANNI PISANO. 53 
 
 which they were to be covered ou the inside, might be 
 protected as iar as possible from the injurious effect of 
 the salt and damp sea-winds. Between these outer walls, 
 which he decorated with arches and pilasters, and the 
 inner, directly contiguous to the quadrangle, he made 
 a broad-roofed corriilor, paved with marble, lighted by 
 Gothic windows and four open doorways, through which 
 are now obtained constantly recurring glimpses of the 
 graves, the solemn cypresses, and the ever-blooming roses 
 of this ' God's acre.' Xothing cuuld be better adapted to 
 its purpose than the building thus constructed, which, 
 completely shutting out the world, compels the eye to 
 rest upon objects suggestive of death and eternity." * 
 
 In the west corridor of the Campo Santo is an allegori- 
 cal statue of the city of Pisa by Giovanni, which exhibits 
 his remarkable power in this department of representa- 
 tion. The female which symbolizes the city is a royal 
 figure, though of rather severe aspect, crowned with a 
 diadem, and holding an infant with either arm, which 
 she is nourishing at her breast. Statues of the four car- 
 dinal Virtues form the pedestal. The supporting figures 
 are in easy attitudes, all draped except the figure of Tem- 
 ]ierance. In this work there is a meaning and an earnest- 
 ness that attract in spite of its lack of beauty. 
 
 At Prato Giovanni enlarged the cathedral, and con- 
 structe<l the chapel for the reception of the sacra ciniola, 
 the girdle of the Virgin, which it was alleged was brought 
 from the Holy Land in 1141. Above the altar of the 
 Capella della Cint<jla is a small statue of the Madonna 
 by his hand. He assisted in building the cathedral of 
 Sienna. The fatj-ade is said to be from his design. For 
 his services there he received the right of citizenship. 
 
 • C. C. Terkins.
 
 54 SCULPTORS OF THE RENAISSANCE. [12...' 
 
 At Pistoia he executed a marble pulpit for the cathe- 
 dral after the style of those executed by Niccola. It is 
 supported by seven columns of red marble, which rest 
 upon the backs of animals, and on the capitals are alle- 
 gorical female figures ; in the pendentives are figures of 
 prophets holding scrolls. Above are reliefs which repre- 
 sent New Testament scenes. Some of these are classed 
 among his best productions. " In composition he was 
 still deficient, and in rendering form frequently unfortu- 
 nate ; yet in his representation of the Saviour he less 
 imitated the antique than Niccola Among the epi- 
 sodes relative to the Magi, one group representing the 
 angel warning them in a dream not to return to Herod 
 (Matthew ii. 12), was essentially worthy of attention, the 
 angel being among the fine productions of Giovanni. 
 Equally good was the relief of the Nativity. But the best 
 portions of the pulpit were undoubtedly the statues in the 
 angles, amongst which that of the angel with a book, and 
 surrounded by the signs of the three remaining Evange- 
 lists, was the most splendid classical group he had yet 
 produced, — remarkable alike for firmness of attitude and 
 animation, — and impressed in the features with the char- 
 acter of an antique Alexander. Here, as it is natural to 
 suppose, the master was assisted by pupils to whom the 
 feebler portions of the monument may be assigned." * 
 
 The pulpit bears this inscription : — 
 
 " Sculpsit Joannes qui res non egit inanes 
 Nicoli natus sensia [scientia] meliore beatus 
 Quem genuit Pisa doctum per omnia visa." 
 
 For S. Giovanni Evangelista in Pistoia, he executed a 
 holy-water basin which is perhaps the finest of all his 
 works. It consists of a font resting upon a group of 
 
 * Crowe and Cavalcaselle.
 
 STATE IlOrM'aALSCIlODL, 

 
 12...] GIOVANNI PISANO. 55 
 
 three beautiful figures — Faith, Hope, and Charity; at 
 the angles are halt-figures of Wisdom, Justice, Strength, 
 and Moderation. 
 
 Among his latest \vorks is the marble pulpit of the ca- 
 thedral of Pisa. In consequence of a fire, unfortunately, 
 it was taken to pieces, and portions of the reliefs have 
 been fixed to the walls of the church. It was erected in 
 its present form in 1607. " If this pulpit be in thought 
 restored to its original form, it still oflers the same qual- 
 ities and deficiencies as that of Pistoia. In the Crucifixion 
 the Saviour was still of a lean and attenuated form, ana- 
 tomically studied, but ugly, whilst the group of the faint- 
 ing Virgin was an improvement on previous ones. As 
 before, the best of the reliefs was that of the Birth of the 
 Saviour, in which the composition was fairly distributed, 
 and the movements were both natural and animated. In 
 the centre, the Virgin in a grand attitude still reminis- 
 cent of the antique, raised the veil which covers the infant 
 asleep on a cushion. ]\Iore to the left Joseph sat, whilst 
 near him the Saviour was held, preparatory to being 
 washed, by a woman feeling the temperature of the water 
 poured out by another female. In the upper space, the 
 episode of the angel appearing to the shepherds was new, 
 though in a form frequently repeated subsequently, and, 
 amongst others, under the same laws and maxims, by Ghi- 
 berti in the north gate of the Baptisterj' of Florence, — 
 a fact which need cause no surprise, as it only proves that 
 in the fifteenth century artists returned anew to the study 
 of the classic, and took up the art where it had been left 
 by the great Pisan." * 
 
 The influence of Giovanni Pisano upon his contempo- 
 raries and his successors is very marked ; he may be said 
 
 • Crowe and Cavalcasello.
 
 56 SCULPTORS OF THE RENAISSANCE. [12... 
 
 to occupy in sculpture the position Giotto occupied in 
 painting. His death occurred, according to Vasari, in 
 1320, but there is a work in S. Maria dell' Arena in 
 Padua, attributed to him, which is inscribed 1321. He 
 was buried in the Campo Santo of Pisa. 
 
 ANDREA PISANO. 
 
 ANDREA PISAISrO, or Andrea di Pontedera, was 
 born at Pontedera, in the Pisan territory, in 1270. 
 He is one of the first sculptors of the Renaissance who 
 made a really appreciative use of the models of Greek art 
 in connection with his own ideal conceptions. Though 
 far from attaining the perfection of ancient art, or of that 
 which later times developed, his works are of extraordi- 
 nary merit when compared with what had been accom- 
 plished by his teachers. It has been sqid that " what Gio- 
 vanni failed to compass was happily attained by Andrea." 
 In the improvement of design he deserves a high rank in 
 the history of early Italian art. His treatment of the 
 nude showed a knowledge of proportion and an elegance 
 of outline that were at times almost like a return to Greek 
 art. His art was free from the pagan ideas which marked 
 that of Niccola, and was stamped with a true Christian 
 sentiment. His taste was pure and his conception of 
 character was noble ; the trivial and the vulgar found no 
 place in his creations, and so fertile was his imagination 
 that he did not repeat himself in his various works. 
 
 Andrea was the assistant of (jiovanni in some of his 
 works, and their names are associated in the execution of 
 important undertakings.
 
 127a] ANDREA PISANO. 57 
 
 Like many of his contemporaries, Andrea was an archi- 
 tect, and built and designed various structures in the cities 
 of Italy. In plastic work he executed the decorations 
 upon the facade of the cathedral of Florence according to 
 the designs of Giotto, most of which have been removed 
 and destroyed ; a few of the statues are preserved in the 
 Palazzo Strozzi. Among these are the figures of St. Peter 
 and St. Paul, adorned, like antique victors, with laurel 
 A\Teaths. He also executed from Giotto's designs reliefs 
 for the Campanile, which still remain. On the west side 
 are represented scenes from the Old Testament, in which 
 a noble and truly religious sentiment is manifest. " Here, 
 in all its vigor, and with a purely Italian cliaracter, stat- 
 uary disclosed itself, free from the mannerisms or deficien- 
 cies of Xiccola or Giovanni. It had assumed the types of 
 Giotto, and clothed itself in a new garb, in which not a 
 trace of the pagan remained ; but in its stead a more 
 Christian sentiment prevailed. It is not possible to find 
 anything finer in the century than the noble figure of the 
 Eternal, softly approaching the recumbent Adam, extend- 
 ing his hand, and issuing the fiat, in obedience to which 
 the man seems to live and to raise a part which has be- 
 gun to receive animation. As a composition of two fig- 
 ures assisted by the judicious placing of two or three 
 trees, this is a masterpiece of artful simj)licity." * He 
 represented on the south and east sides the various in- 
 dustries and inventions of man ; and upon the north, the 
 seven liberal arts and sciences. Among the statues in 
 the niches above the second course of ornaments, four 
 figures of prophets are by Andrea. 
 
 The master-work of Andrea is the bronze door of the 
 Bapti.stery at Florence, wliicli surpassed anything that had 
 
 • Crowe ami Cavaltasflle.
 
 58 SCULPTORS OF THE RENAISSANCE. [im 
 
 hitherto been achieved, and became the pride of the Ee- 
 public. For this work, which occupied twenty-two years 
 in the execution, the artist received the rights of citizen- 
 ship. It was sculptured after designs by Giotto. Upon 
 the door are represented the principal scenes in the life 
 of St. John the Baptist. It is divided into twenty-eight 
 panels, or compartments, twenty of them containing each 
 one scene ; the remaining eight contain single figures of 
 the Virtues. The stories are given with great distinctness, 
 each comprising but few figures simply placed, with no 
 superfluous accessories. The series commences with the 
 message of the Angel to Zacharias in the temple ; this is 
 followed by the scene in which Zacharias appears before 
 his family in his state of temporary dumbness. The third 
 scene is the visit of Mary to Elizabeth, in which the two 
 appear beneath an arcade ; this is one of the most beau- 
 tiful reliefs, and is similar to the pictures of the Visita- 
 tion by later artists. This is followed by the Birth, the 
 Naming of John, his early life in the deserts of Ju- 
 daea, the questioning of the Pharisees as to whether 
 John was the Messiah, " Behold the Lamb of God," John 
 Baptizing, and the Baptism of Christ, which is one of the 
 most admirable of the series. Then follows the Im- 
 prisonment of John, the Message sent by John's disci- 
 ples to Christ, the Declaration of Christ regarding the 
 mission of John, the Birthday Festival of Herod, and 
 the Beheading of John. The two last scenes, in which 
 the disciples took up the body of John and laid it in the 
 tomb, are among the finest, and, though very simple, are 
 full of pathos. This work, so greatly eclipsed by the later 
 and more picturesque work of Lorenzo Ghiberti, will still 
 repay the most careful study. The beauty of many of the 
 figures, the simple flow of the drapery, the calm repose,
 
 mo] ANDREA PISANO. 59 
 
 or the dignified action expressed in the different scenes, 
 combine to render it one of the noblest productions of 
 the fourteenth century, a memorial of the genius of Giotto 
 di Bondoue and of Andrea Pisano. This door occupied 
 the central position until Ghiberti executed his first door 
 for the Baptistery, when it was removed to one side. 
 
 The date of Andrea's death is given as 1335, but he 
 undoubtedly lived to a much later period. He was buried 
 in the cathedral at Florence. 
 
 Nino Pisano, son of Andrea, was eminent as a sculp- 
 tor, and assisted his father upon the door of the Baptistery, 
 and was the author of various independent works. These 
 are remarkable for a delicate smoothness of finish, and for 
 the graceful disposition of the draperies. Some of his 
 best productions are to be seen in the beautiful little 
 church of S. Maria della Spina, in Pisa. For the high 
 altar he executed a Madonna and Child, with the saints 
 Peter and Paul The 'St. Peter is a portrait of his father, 
 Andrea. 
 
 TOMMASO DE* STEFANI MASUCCIO. 
 
 TOM^IASO DE' STEFANI MASUCCIO, called also 
 Masuccio il Secondo and Masuccio the Younger, 
 born in 1291, was a jjupil of Masuccio the elder, an archi- 
 tect and sculptor, who was l)orn and labored at Naples. 
 The history of these artists is involved in such obscurity 
 that tliL'ir names seem almost mythical, though the works 
 attributed to them are of considerable importance in the 
 development of early Italian art. 
 
 It is supposed that Masuccio the younger spent some 
 time in Home, and that the study of the monuments of
 
 60 SCULPTORS OF THE RENAISSANCE. [1291 
 
 antiquity imparted to his style a purity and taste beyond 
 that attained by his instructors. 
 
 The church of S. Chiara in Naples was rebuilt in 1318 
 by Masuccio the younger. Back of the high altar are 
 the monuments of King Robert the Wise, and his son, 
 Charles of Calabria, by his hand. These are among the 
 principal sculptures of the period. In the church of 
 S. Domenico (one of the finest churches of Naples, built 
 from designs by Masuccio the elder) are several sculp- 
 tured monuments attributed to him. 
 
 The Campanile of S. Chiara has been assigned by some 
 to Masuccio the younger, by others to one of his pupils. 
 He died in 1388. 
 
 ANDREA ORCAGNA. 
 
 ANDEEA ORCAGNA, or Arcagno, was the son 
 of a Florentine goldsmith named Clone. He 
 always designated himself as Andrea di Cione ; his 
 contemporaries called him Orcagna, a corruption of Ar- 
 cagnuolo, or the Archangel, and by this name he is best 
 known in history. He was probably born near the be- 
 ginning of the fourteenth century, but the date is not 
 known with certainty. Orcagna's genius was of the 
 highest order, and had he possessed scientific knowledge 
 he would have been one of the greatest artists of his 
 country. He excelled in sculpture, in architecture, and 
 in painting, and gave an impulse to the art of his time in 
 all its branches. His frescos are so faded and damaged 
 that his merits as a painter can now scarcely be under- 
 stood ; but his finest work in sculpture, the Tabernacle of 
 Or San Michele, stands in imperishable beauty, as it has
 
 13...] ANDREA ORCAGNA. 61 
 
 stood for five centuries. The church * which contains 
 this remarkable shrine was originally a market-place, and 
 the lower portion was converted into a church under the 
 direction of Orcagna himself. During the plague of 
 134S, the offerings made to the company which had been 
 formed in honor of the Madonna of Or San Michele 
 amounted to a large sum, and this was finally devoted 
 to the erection of a fitting shrine for the miracle-working 
 ima<'e, and Orcajjna was intrusted with its execution. 
 This work occupied the artist for eleven years, though he 
 employed various masters in sculpture to execute differ- 
 ent parts. The figures, however, are all the work of his 
 own hands, assisted by his brother Bernardo, and they 
 are certainly among the most beautiful sculptures of the 
 century. The design of the whole is no less remarkable 
 than its details ; it is a Gothic pyramidal structure of 
 white marble, rising nearly to the roof of the church, and 
 is of the most graceful proportions. The history of the 
 Virgin is represented in nine scenes in bas-relief upon 
 the shrine, two upon each face of the basement, and the 
 ninth above, a large scene, covering the back of the 
 tabernacle. The history commences upon the north side, 
 with the Birth, and the Dedication of the Virgin ; upon 
 the west is the Annunciation, and the ]\Iarriage of the 
 Virgin ; and uj)on the soutli side is the Birth of Christ, 
 and the Athji-ation of the Kings. Upon the east face is 
 represented the Purification, and the angel presenting a 
 palm-branch to the Virgin as a .symbol of her approach- 
 ing decease. The large scenes at the back represent the 
 Death and Assumption of the Virgin. The figures of 
 the apostles in this relief arc especially fine, and in one 
 of th<'m (Jrcagna has left his own portrait. Between 
 the scenes in relief are figures of tlu; Virtues, and at 
 
 • Seo Doiialdli), ]>. 78.
 
 62 SCULPTORS OF THE RENAISSANCE. [13... 
 
 the angles of the piers are figures of apostles, prophets, 
 and other sacred personages. Crowning the whole is 
 the figure of the Archangel Michael, with his sword in 
 one hand and the globe in the other, attended by two 
 angels bearing shields. Every part of this shrine is 
 finished and adorned in the most exquisite manner ; the 
 graceful statuettes, the clustering pillars and pinnacles, 
 and the rich mosaics, combine to render it one of the 
 most splendid monuments of art, and worthy of its title 
 of the " Jewel of Italy." Lord Lindsay said : " We can- 
 not wonder, considering the labor and the value of the 
 materials employed on this tabernacle, that it should have 
 cost eighty-six thousand of the gold florins treasured up 
 in the Or San Michele, — or hesitate in agreeing with 
 Vasari, that they could not have been better spent." 
 
 According to Vasari, Orcagna died at the age of sixty 
 years. 
 
 JACOPO DELLA QUBRCIA. 
 
 JACOPO DELLA QUEECIA, the most eminent of the 
 early Tuscan masters, was born at Querela, a small 
 market town in the vicinity of Sienna, in 1374. He was 
 an artist of great originality and independence, and his 
 earliest works prove that he had found the path which 
 would lead to the highest excellence. His father was a 
 goldsmith, and probably educated Jacopo in this art, for 
 his works were finished with remarkable care and deli- 
 cacy. He evidently studied antique art, and imitated it 
 to some extent, and, further aided by his study of nature, 
 he departed wholly from the traditional constraint which 
 had in greater or less measure adhered to all his immedi- 
 ate predecessors.
 
 1OT4.] JACOPO DELLA QUERCIA. 63 
 
 About 1412 Jacopo was commissioned by the Signoria 
 of Sienna to adorn with sculptures a fountain in the 
 Piazza del Campo (now Yittorio Emanuele). Near the 
 middle of the fourteenth century water had been brought 
 by conduits into the city, and the fountain which it sup- 
 plied was called " Fonte Gaja," in expression of the joy 
 with which the blessing was received. The new foun- 
 tain was first adorned with an antique statue of Venus. 
 The years that followed were full of tumult and calamity 
 in the city, and the people believed it to be in conse- 
 quence of the setting up of a heathen divinity among 
 them. The statue was therefore removed, and, later, 
 JacopD della Quercia was employed to decorate the Fonte 
 Gaja with Christian sculptures. He erected a three-sided 
 marble parapet, upon which were sculptured the Madonna 
 and Child, statues of the seven theological Virtues, and 
 two scenes in relief, representing the Creation of Man, 
 and the Expulsion from Eden, with emblems relating to 
 the city of Sienna. For this beautiful work the artist re- 
 ceived the name of Jacopo della Fonte. These sculp- 
 tures which had become much damaged with time, have 
 now Ijeen removed to the Opera del Duomo, and a copy 
 of the whole work by the sculptor Sarroclii has been 
 erected in its place. 
 
 One of Jacopo's most delicately treated works is the 
 tomb of Ilaria Guinigi, Marchesa de Carretto, wife of 
 I'aolo Guinigi, Lord of Lucca, in the cathedral of Lucca. 
 The sculptured figure of the decea.sed is in the attitude 
 of repose, the arms lying straight, with the hands simply 
 crossed, the feet and limbs covered with drapery. At 
 the feet is a hound, the emblem of conjugal fidelity. Mr. 
 Kuskin says : " If any of us, after staying for a time be- 
 side this tomb, could see, through his tears, one of the
 
 64 SCULPTORS OF THE RENAISSANCE. [1374. 
 
 vain and unkind encumbrances of the grave, which, in 
 these hollow and heartless days, feigned sorrow builds to 
 foolish pride, he would, I believe, receive such a lesson of 
 love as no coldness could refuse, no fatuity forget, and no 
 insolence disobey." 
 
 In the chapel of St. John the Baptist of the cathedral 
 at Sienna, he executed a marble font with beautiful re- 
 liefs, representing scenes from the Old Testament. Upon 
 the font of S. Giovanni of the same city, Jacopo executed 
 two bronze reliefs, representing the Birth and the Preach- 
 ing of St. John the Baptist ; the remaining reliefs upon 
 the font are the work of other artists. 
 
 In 1425 this artist was summoned to Bologna, and 
 commissioned with the work of adorning the principal 
 door of the church of S. Petronio. Here he represented, 
 in ten reliefs, scenes from the Book of Genesis. On tlie 
 architrave he represented scenes from the life of Christ. 
 Besides the reliefs the door is adorned with half-length 
 figures of prophets and sibyls. This is one of the most 
 beautiful works of the time, and may be considered the 
 masterpiece among Jacopo's reliefs. The single figures are 
 full of individuality, and the scenes in relief are distinct 
 and lifelike. The sculptured pictures illustrating the 
 early history of humanity are invested with a charm and 
 freshness that are very rare. The figures are few, and 
 the arrangement is of classic simplicity. The Creation of 
 Eve is one of the most admirable. " Without this ante- 
 cedent sketch, Michael Angelo might not have matured 
 the most complete of all his designs in the Sistine chapel. 
 The similarity between Delia Quercia's bas-relief and 
 Buonarotti's fresco of Eve is incontestable. The young 
 Florentine, while an exile in Bologna and engaged upon 
 the shrine of S. Domenico, must have spent hours of
 
 1374.] JACOPO BELLA QUERCLl. 65 
 
 study before the sculptures of S. retronio ; so that this 
 seed of Delia Quercia's sowing bore after many years the 
 fruit of world-renowned achievement in Home." * 
 
 Jacopo died in Sienna in 1438. One of his most emi- 
 nent followei-s was XiccoLO dell' Akca, who labored in 
 Bologna in the fifteentli century. 
 
 FILIPPO BRUNELLESCO. 
 
 FILirPO BKUXELLESCO, born in Florence in 1377, 
 is celelirated as one of the greatest architects that 
 ever lived, and, though the greater part of his life was 
 devoted to the practice of architecture, he is of sufficient 
 importance in the history of sculpture to merit a place 
 among the best artists of his time. His old biographer, 
 Vasari, tells us tliat " his birth w^as solemnized with all 
 possible gladness. As the infant advanced in childhood, 
 his father taught him the first rudiments of learning w^ith 
 the utmost care, and herein Filippo displayed so much 
 intelligence, and so clear an understanding, as to fre- 
 quently cause surprise that he did not take pains to 
 attain perfection in letters, but rather seemed to direct 
 his thoughts to matters of more obvious utility, a cir- 
 cumstance which caused Ser Brunellesco, — who wished 
 his son to follow liis own calling of a notary, or that of his 
 great-great-gi'andfather, very great displeasure. l*erceiv- 
 ing, nevertheless, tliat the mind of the boy was constantly 
 intent on various ingenious questions of art and mechan- 
 ics, he made him learn writing and arithmetic, and then 
 placed him in the guild of the goldsmiths, tliat he might 
 acquire the art of design." 
 
 • J. A. Symonds.
 
 66 SCULPTORS OF THE RENAISSANCE. [13T7. 
 
 Brunellesco, having learned all the branches of the 
 goldsmith's art, seems for a time to have inclined to the 
 practice of sculpture ; but circumstances having turned 
 his attention to architecture, he at length wholly aban- 
 doned design and sculpture for the pursuit in which he 
 nobly earned the reputation of being the greatest engi- 
 neering architect of his time. 
 
 He was one of the competitors for the work of the 
 famous bronze door of the Baptistery at Florence, and his 
 trial relief, representing the Sacrifice of Abraham, was 
 admirably conceived and executed. It is declared to be 
 more in accordance with the strict rules of sculpture than 
 the relief of Ghiberti, to whom the award was given, 
 though less calculated to please. This work is still pre- 
 served in the Museum of the Bargello. 
 
 In competition with Donatello, whom he seems to 
 have regarded as deficient in religious feeling, he carved 
 a wooden crucifix, which is remarkable for its expression, 
 though it is not above criticism in all points ; it is in the 
 Chapel de' G-onde of S. Maria Novella. 
 
 In the time of Brunellesco, architecture as a science 
 suffered almost total neglect, and to him is due the credit 
 of its revival, and a restoration of the principles of the 
 antique. He went to Eome, where he diligently stud- 
 ied the remains of ancient architecture, making careful 
 measurements and drawings, and by the most unwearied 
 labor collecting the information which he afterwards 
 used to such good purpose. When out of money, he sup- 
 plied his wants by setting precious stones for the gold- 
 smiths of Eome. 
 
 In the year of his return to Florence an assemblage 
 of engineers and architects was gathered, at the request 
 of the superintendents of the works of the cathedral, S.
 
 wn.] FILIPPO BRUNELLESCO. 67 
 
 Maria del Fiore, and Brunellesco, who was among them, 
 unfolded a plan which he had been maturing for raising 
 the cupola of the unfinished building. It was, however, 
 after some years of delay that the work was intrusted to 
 him, which he commenced about 1420. Before his death 
 Brunellesco had the satisfaction of seeing his dome com- 
 pleted, except the exterior of the drum beneath the 
 cupola. ^Measured diametrically, it is the largest dome 
 in the world, and it became the admiration and wonder 
 of all later architects and artists, among them Michael 
 Angelo, who declared that it could not be surpassed. In 
 excellence of construction it perhaps could not be, but in 
 beauty it was surpassed by the dome of St. Peter's, de- 
 signed by Michael Angelo himself. 
 
 About 1435 Brunellesco was employed to execute de- 
 signs for the Pitti Palace, and under his direction it was 
 raised to the second story ; in its completion his succes- 
 sors, it is said, did not deviate from his designs. This edi- 
 fice is doubtless unsurpassed in monumental grandeur by 
 any palace in Europe. The facade is four hundred and 
 sixty feet in length, and each of its three stories is forty 
 feet in height. Immense round arcades support the win- 
 dows, and a simple balustrade runs along the top of the 
 far;ade. M. Taine says : " What is really unique, and car- 
 ries to an extreme tlie grandiose severity of the edifice, is 
 the vastness of the material of which it is built. It is 
 not stone, but fragments of rock, and almost sections of 
 mountains. Scarcely hewn out, rugged and dark, they 
 preserve their original asperity, as would a mountain if 
 torn from its foundations, broken into fragments, and 
 erected on a new site by cyclopean hands." 
 
 Brunellesco rebuilt tlie church of S. Lorenzo, in Flo- 
 rence, and built the present church of the Santo Spirito,
 
 68 SCULPTORS OF THE RENAISSANCE. [1377. 
 
 the interior of which is considered the finest of his works, 
 though it was not completed until his death, and his 
 designs were not exactly carried out. It is in the form 
 of a Latin cross, and, with its four pillars and thirty-one 
 Corinthian columns, its interior is very attractive. Mr. 
 Fergusson says that all in all S. Spirito is " internally as 
 successful an adaptation of the basilican type as its age 
 presents." 
 
 Vasari tells us that the character of Brunellesco was 
 " adorned by the most excellent qualities, among which 
 was that of kindliness, insomuch that there never was a 
 man of more benign and amicable disposition ; in judg- 
 ment he was calm and dispassionate, and laid aside all 
 thought of his own interest, and even that of his friends, 
 whenever he perceived the merits and talents of others to 
 demand that he should do so. He knew himself, in- 
 structed many from the stores of his genius, and was ever 
 ready to succor his neighbor in all his necessities ; he de- 
 clared himself the confirmed enemy of all vice, and the 
 friend of those who labored in the cause of virtue." Bru- 
 nellesco died in 144G, and was buried with great honors 
 in the cathedral where his tomb is to be seen, with a 
 portrait-bust by one of his disciples, II Buggiano. But 
 his noblest monument is the dome above, which his 
 genius raised to its vast height. 
 
 The following epitaph was written by Giovanni Bat- 
 tista Strozzi : — 
 
 " Tal sopra sasso sasso 
 Di giro in giro eternamente io strussi ; 
 
 Che cosi, passo passo 
 Alto girando, al ciel mi ricondussi." 
 
 As stone on stone I piled, — 
 Toiling forever, building round and round, 
 
 So step by step I climbed, 
 Higher and higher still, till heaven I found.
 
 1378.] LORENZO GIIIBERTI. 69 
 
 LORENZO GHIBERTI. 
 
 LOr.EXZO GHIBERTI, one of the most eminent 
 sculptoi-s of the Renaissance, was born in Florence 
 in 1378, or, according to some authorities, in 1381. We 
 are told by Vasari that he was the son of " Cione di Ser 
 Buonaccorso and his wife, Madonna Fiore," and that after 
 his father's death his mother was married to Bartolo di 
 ^Michele. "We can know little of the childhood or the 
 youth of Lorenzo ; but we may know that he was en- 
 dowed by nature with a sense of beauty and grace in no 
 common measure ; and thougli Florence was not then as 
 now the centre of inexhaustible art treasures, yet there 
 existed much to fascinate the eye and cultivate the 
 imagination of a young artist, — the beautiful churches 
 and palaces of Arnolfo, the Avorks of Orcagna in archi- 
 tecture and sculpture; and, above all, that "headstone 
 of beauty," the Campanile, had been raised by the shep- 
 herd of Vespignano. 
 
 Bartolo, or Bartoluccio, as he is now called, was a gold- 
 smith, and, it is supposed, instructed his young step-son in 
 that art. It is said that Lorenzo also received instruction 
 from Gherardo Starnini, known as the instructor of vari- 
 ous celebi-ated artists. In 1400 Lorenzo left his native 
 city for a time, on account of the visitation of the plague ; 
 but he kept up his study of design, and continued the 
 practice of modelliug in wax and plaster, which he had 
 begun. 
 
 In 14nl lie was recalled to Florence for the purpose of 
 competing for the work of the second bronze door of the 
 Baptistery. The sul)ject chosen for a trial relief was the 
 sacrifice of Abraham, and a nuinber of the most .skilful
 
 70 SCULPTORS OF THE RENAISSANCE. [im 
 
 artists of Italy were selected to present to the Consuls an 
 example of their artistic abilities in its execution. The 
 examination took place at the end of the year which had 
 been allotted, and the work of Lorenzo — or Ghiberti, by 
 which name he is best known — was chosen by the 
 judges as being of the highest excellence. The work of 
 Brunellesco, who was one of the competitors, was of 
 marked excellence, but it had been executed in several 
 pieces and joined together, while that of Ghiberti had 
 been executed in one piece. Both reliefs are preserved 
 in the Museum of the Bargello, in Florence. 
 
 In 1339 Andrea Pisano had completed the first bronze 
 door of the Baptistery; in 1403 Lorenzo Ghiberti com- 
 menced the work of the second. It consists of twenty- 
 eight compartments, or panels, twenty of them illustrating 
 New Testament scenes, and the remaining eight contain- 
 ing figures of the Evangelists and doctors of the Church, 
 each enclosed in an elaborate framework. The New 
 Testament scenes occupy the upper panels of the door, 
 commencing with the Annunciation, and. ending with 
 the Descent of the Holy Spirit. The figures are lifelike, 
 the groups are full of spirit and meaning, and the execu- 
 tion is of the utmost delicacy. This work gave so much 
 satisfaction that the sculptor was commissioned to execute 
 a third door ; it was also decided that, when completed, it 
 should occupy the central position, and the one executed 
 by Pisano be removed to one side. 
 
 In the selection of the subjects for his second door, 
 Ghiberti was assisted by the historian Leonardo Bruni, of 
 Arezzo. The work is divided into ten compartments, and 
 illustrates Old Testament history, each compartment con- 
 taining several complete scenes. The first contains the 
 creation of Adam and Eve, the first transgression, and the
 
 im] LORENZO GHIBERTI. 71 
 
 expulsion from Eden; the second, Adam and Eve with 
 Cain and Abel as children, Cain and Abel at their labor, 
 Cain and Abel offering sacritice, the death of Abel, and 
 the Lord interrogating Cain ; the third, Noah and his fam- 
 ily leaving the ark, with the animals and birds, the sacri- 
 fice of Xoah, liis vineyard, and his inebriation ; the fourth, 
 Abraham and the three angels, the sacrifice of Abraham, 
 and the servants of Abraham at the foot of the mountain. 
 The fifth panel contains the birth of Jacob and Esau, — 
 Esau as a hunter, and Jacob receiving his father's bless- 
 ing. These scenes are a grapliic and touching picture of 
 the familiar story. In the sixth panel, which is one of 
 the most beautiful, is the history of Joseph, — Joseph sold 
 by his brethren, his meeting with them in Egypt, the 
 finding of the cup in Benjamin's sack, and Joseph making 
 himself known to his brethren. The seventh represents 
 Moses receiving the tables of the Law, Joshua awaiting the 
 return of Moses, and the children of Israel at the foot of 
 Mount Sinai ; the eighth, bearing the ark of the covenant 
 over the Jordan, carrying the memorial stones, and the de- 
 struction of the walls of Jericho ; the ninth, David slaying 
 Goliath, tlie armies of the Israelites and Philistines, and 
 David returning with the head of Goliath ; the tenth and 
 last, the visit of the Queen of Sheba to Solomon. These 
 scenes are all portrayed with vividness, and with great 
 minutenass of detail ; many of the compositions are em- 
 ])*dlished by tlie introduction of a]ipropriate architecture. 
 The figures and attitudes are graceful and life-like, and 
 the nf)ble and simple drai)ery gives them almost the 
 l>eauty of antif^ue statues. Tiie groups are arranged in 
 j>ersj;>ective, as upon canvas, and tliougli this has been 
 ])roriounced " pernicious to plastic art," tlie charm of the 
 whole is freely admitted. In each history the most im-
 
 72 SCULPTORS OE THE RENAISSANCE. [i378. 
 
 portant and absorbing scene lias been made most promi- 
 nent, and the thought which conceived them is only 
 equalled by the skill and taste with which they are 
 modelled. The festive splendor of the last scene is like 
 the closing of a beautiful drama. 
 
 In the framework that surrounds the panels are niches 
 containing statuettes of prophets and sibyls, and at each 
 angle is a head in full relief At the inner angles of the 
 third and sixth panels are the heads of Ghiberti, and his 
 step-father, Bartoluccio. Outside of all is a rich border 
 of fruits, flowers, and foliage, upon which a variety of 
 beautiful birds are represented. The execution of these 
 two doors occupied Ghiberti for more than forty years ; 
 the result of that patient toil has been the pride of his 
 country and the admiration of the world for more than 
 four hundred years. 
 
 Other important works in sculpture by Ghiberti are the 
 statues of St. John the Baptist, St. Matthew, and St. Ste- 
 phen, for the exterior of Or San Micliele, and the shrine 
 of St. Zenobius beneath the central altar of the apse in 
 the cathedral of Florence. The reliefs upon this shrine, 
 which contains the relics of the saint, represent various 
 legends from his life. The principal one adorns the front, 
 and is very beautiful ; it represents the restoration of a 
 dead child to life by the prayers of Zenobius. The dead 
 body lies in the centre, the mother and the saint kneel at 
 either side, and the spirit of the little child is hovering 
 over the group, while sympathizing spectators crowd 
 around. The scene is made more picturesque by the 
 glimpse of a far-off city. At the back of the shrine is 
 an inscription enclosed by a garland held by angels. 
 
 Vasari mentions a son of Lorenzo Ghiberti, named 
 Bonaccorso, who completed some of the works left unfin-
 
 1378.] LORENZO GHIBERTI. 73 
 
 ished at his father's death ; and Vittorio, son of Bonac- 
 corso, who was also a sculptor. According to Baldinucci, 
 the son and heir of Lorenzo was Vittorio, and Bonaccorso 
 was his grandson. Michael Angelo said : " "Woe to Lo- 
 renzo Ghiberti, if he had not made the gates of San Gio- 
 vanni ; for his children and cji-andchildren have sold or 
 squandered all that he left, but the gates are still in 
 their place." 
 
 Lorenzo Ghiberti died in 1455 and was buried in Santa 
 Croce, in Florence, it is recorded, but his tomb is not now 
 to be found. 
 
 DONATELLO. 
 
 COXTEMPORAEY with Ghiberti, and his equal in 
 artistic talent, was Donato di Niccolo di Betto 
 Bardi, called by himself and by his companions Dona- 
 TELLO. The bold and rugged style of Donatello is in con- 
 spicuous contrast with the polished art of Ghiberti, as was 
 his spirited nature with that of his gentle rival. His 
 character and his style of art were consistent, and it has 
 been said that "his life and works, if studied apart by a 
 philo.sopher and a critic, would yield the same conclusions 
 to both." There is a powerful masculine energy displayed 
 in everything which he undertook; the marks of his 
 strong, uncurbed nature are everywhere to be traced in 
 his creations ; but not less conspicuous are the more ge- 
 nial qualities of his disposition. He may be called the 
 prototype of Michael Angelo, M'hose more finished and 
 elevated style was evidently moulded by a faithful study 
 of his works. Michael Augelo's sculptures resemble those
 
 74 SCULPTORS or THE RENAISSANCE. [isse. 
 
 of Donatello, as the works of Eapliael suggest the more 
 gentle and tranquil style of Ghiberti. 
 
 Donatello was left an orphan in early childhood, but 
 found a home, in the real sense of the word, in the family 
 of the Florentine, Ruberto Martelli. Here his frank and 
 cheerful nature expanded in a congenial atmosphere ; and 
 the estimable qualities which secured the affection of his 
 benefactors were the same which endeared him to his 
 companions and fellow-artists in later life, and which 
 through his works render his name the beloved posses- 
 sion of all times. Donatello — " little Donato " — is still 
 talked of in his native Florence with affectionate famil- 
 iarity as if he had lived but yesterday, and all the tradi- 
 tions of his life are kept fresh in the imagination. 
 { . He began the labors of his jDrofession at a very early 
 age, and through his long life pursued them with an un- 
 wearied industry. He was much praised and honored, 
 but was never turned aside from his simplicity of man- 
 ners and living, or from his singleness of purpose. At 
 Padua he executed numerous commissions which brought 
 him great fame, but in the midst of all the honors lav- 
 ished upon him he declared, " If I remained here, where 
 every one flatters me, I should soon forget what I know ; 
 but in my own country criticism will keep me vigilant, 
 and compel me to advance." 
 
 There is some uncertainty with regard to the early 
 teachers of Donatello ; but it is certain that he was well 
 instructed in the science of perspective, and that he was a 
 diligent and appreciative student of antique models. Va- 
 sari says : " This master produced many works in his 
 youth, but because they were many, they were not con- 
 sidered to be of any great account." He executed both 
 sacred and secular subjects in bronze, wood, and marble ;
 
 1386.] DONATELLO. 75 
 
 small relief compositions, and large statues, both ideal and 
 portrait, evincing extraurdiuary love for every branch of 
 his art, and lalwriiig with nearly equal success in each. 
 One of his earliest Avorks, and the one which first made 
 his name famous, is an Annunciation, now in the right 
 side aisle of Santa Croce, in Florence. The angel is 
 bending upon one knee, and looking with a gentle seri- 
 ousness upon ^lary, who is half turning away in a timid 
 manner, yet seeming to listen with an air of humility and 
 reverence, as though saying, " Behold the handmaid of the 
 Lord." In delicate feeling none of the later works of 
 Donatello surpass this. For the same church he carved a 
 wooden crucifix, which, though the product of great labor, 
 was scarcely worthy of the subject, and it was severely 
 criticised by his friend, Brunellesco. Yasari is the au- 
 thority for the story, and it is best told in his own words. 
 " "\Mien the work was completed, believing himself to 
 have produced an admirable thing, he showed it to Filippo 
 di Ser Brunellesco, his most intimate friend, desiring 
 to have his opinion of it. Filippo, who had expected 
 from the words of Donato, to see a much finer production, 
 smiled somewhat as he regarded it, and Donato, seeing 
 this, entreated him by the friend.ship existing between 
 them, to say what he thought of it ; whereupon Fihppo, 
 who was exceedingly frank, replied tliat Donato appeared 
 to him to have jilaced a clown on the cross, and not a fig- 
 ure resembiug that of Jesus Christ, whose person was 
 delicately beautiful, and in all its parts the most perfect 
 form of man that had ever been born. Donato, hearing 
 himself censured where he ex])ected i)raise, and more 
 hurt tlian he was perhaps willing to admit, replied, ' If it 
 were as easy to execute a work as to judge it, my figure 
 would appear to thee to be Christ, and not a hour; but
 
 76 SCULPTORS OF THE RENAISSANCE. [1386. 
 
 take wood and try to make one thyself.' Filippo, without 
 saying anything more, returned home, and set to work on 
 a crucifix, wherein he labored to surpass Donato, that he 
 might not be condemned by his own judgment ; but he 
 suffered no one to know what he was doing. At the end 
 of some months the work was completed to the height of 
 perfection, and this done, Filippo one morning invited 
 Donato to dine with him, and the latter accepted the in- 
 vitation. Thereupon, as they were proceeding together 
 towards the house of Filippo, they passed by the Mercato 
 Vecchio, where the latter purchased various articles, and, 
 giving them to Donato, said, ' Do thou go forward with 
 these things to the house and wait for me there, I'll be 
 after thee in a moment.' Donato, therefore, having en- 
 tered the house, had no sooner done so, than he saw the 
 crucifix, which Filippo had placed in a suitable light. 
 Stopping short to examine the work, he found it so per- 
 fectly executed, that, feeling himself conquered, full of 
 astonishment, and as it were startled out of himself, 
 he dropped the hands which were holding up his apron 
 wherein he had placed the purchases, when the whole 
 fell to the ground, eggs, cheese, and other things, all 
 broken to pieces and mingled together. But Donato, not 
 recovering from his astonishment, remained still gazing 
 in amazement and like one out of his wits when Filippo 
 arrived, and inquired, laughing, 'What hast thou been 
 about, Donato ? and what dost thou mean us to have for 
 dinner, since thou hast overturned everything ? ' 'I, 
 for my part,' replied Donato, ' have had my share of 
 dinner for to-day ; if thou must needs have thine, take 
 it. But enough said : to thee it has been given to repre- 
 sent the Christ ; to me, boors only.' " 
 
 Another early work by this artist was a figure of the
 
 1386.] DOXATELLO. 77 
 
 prophet Daiiiel in marble, executed for the fac^ade of the 
 cathedral of Florence, but it is not now known where 
 the figure is, if it still exists. He executed several statues 
 of David, in which the vigor and boldness of his early 
 style are well shown. One in bronze is in the Museum of 
 the Bargello in Florence, a lifelike youthful figure stand- 
 ing with his left foot on the head of Goliath, one hand 
 grasping a huge sword, the other resting against his hip. 
 The helmet of Goliath is adorned with a beautiful relief 
 representing a triumphal car drawn by children ; the 
 head of David is shaded by a shepherd's hat wound with 
 a wreath of ivy. In the Gallery of the Uffizi is a David 
 in marble, which Liibke calls " a theatrical caricature." 
 The finest of the statues of this subject is the one in 
 bronze above mentioned, of which Yasari says : " The 
 animation, truth to nature, and softness manifest in this 
 figure make it almost impossible to artists to believe that 
 it has not been moulded on the living form." Cavalca- 
 selle says : "If, among the many statues of David which 
 Douatello produced, we choose one which now adorns the 
 collection of the Uffizi [since placed in the Bargello], we 
 shall agree with Yasari that the life and fleshiness of it 
 are admirable and the more praiseworthy if the difficul- 
 ties of bronze be considered. We shall contemplate with 
 pleasure elastic motion rivalling that of a living man ; 
 and we shall Ijc justified in adding, that no creation of 
 the revival, from the fourteenth century to the time of 
 Michael Angelo, is more entitled to claim respect and ad- 
 mimtiou, because of the true development of the maxims 
 and laws which are cond)ined alike in it and in Greek 
 
 models An adniimljlt; unity marks the contours of 
 
 the form, whose select parts reveal a true feeling for the 
 beauties of Greek statuary. Donatello, in fact, disi)lays
 
 78 SCULPTORS OF THE RENAISSANCE. [im 
 
 the results of a deep study of the antique, combining in 
 a single work the truth of nature with nobleness of shape 
 and mien, chasteness of form with breadth and ease of 
 modelling. More happy in his mood than at other pe- 
 riods of his career, he seems to have curbed the natural 
 impetuosity of his temper, and to have allowed a cooler 
 judgment to restrain the natural fire that burned within 
 him. We may regret that he should not have constantly 
 obeyed this restraint, and that he should have fallen so 
 frequently into a less noble realism ; but it is due to him 
 to greet with a just applause those works in which he 
 gave proofs that he possessed the highest gifts that can 
 grace a sculptor. His David has a perfect harmony of 
 power, of character, and of parts, and had posterity been 
 deprived of all his works except that, he would, on the 
 strength of it, be called the best sculptor of his country." 
 In the Via Calzajuoli, or Street of the Hosiers, in Flo- 
 rence, is the famous church of Or San Michele. The 
 building was constructed in 1284 by Arnolfo del Cambio, 
 for the purpose of storing the reserves of grain laid up by 
 the people and commune of Florence, and the name Hor- 
 reum Sancti Michaelis commemorates its original desisrn. 
 Upon one of the pilasters of the building an old Siennese 
 painter, Ugolino, painted a Madonna, which in time be- 
 came celebrated as a miracle-working picture. During 
 the reign of the plague in Florence in 1348, the suffering 
 people flocked to this image, and the building itself was 
 held in such veneration that laws were passed prohibit- 
 ing any noise in the vicinity. A few years later it was 
 converted into a church, and the costly shrine of Orcagna 
 was erected over its miracle-working Virgin, though, as 
 is now supposed, not the original picture by Ugolino, but 
 the work of a later artist.
 
 1386.J DQNATELLO. 79 
 
 In the external walls of Or San ^lichele, niches were 
 made for the reception of statues, and in these the princi- 
 pal trading guilds of Florence erected figures of their pa- 
 tron saints in marble. In a niche upon the north front is 
 Donatello's St. Peter, executed for the guild of butchers, 
 L' Arte dci Bcccai. For the flax merchants, L' Arte del 
 Linajaoli, he executed a figure of St. Mark, which occu- 
 pies a niche upon the south side ; a lifelike, animated 
 figure, which Michael Augelo is said tu have saluted 
 with the {[uestion, " Marco, why do you not speak to 
 me ? " With great judgment and knowledge of tlie laws 
 of optics Douatello finished this statue with reference to 
 the position it was intended to occupy, and when, view- 
 ing it upon the ground, the syndics of the Linajaoli were 
 dissatisfied, the sculptor begged them to allow it to be 
 raised to its niche, when he would change it to a differ- 
 ent figure. It was accordingly placed and covered for a 
 furtnight, after which it was displayed, a different figure 
 indeed, though untouched. 
 
 But the finest of all is his figure of St. George, executed 
 for the guild of armorers, and occupying a niche upon the 
 south side of the church. It is an upright, youthful fig- 
 ure, clad in armor, and holding a lance-shaped shield in 
 front of him on which the cross is displayed. The posi- 
 tion is utterly quiet, every muscle is in repose, but no 
 work of modern sculpture exhibits such intensity of life 
 and power as this knightly figure. A loose drapery is 
 jtlirown al>out the shoulders and knotted in front; the 
 liead is Ijare, the face slightly lifted and looking into the 
 di.stance as if expectant, yet dreading nothing. I'ascarel 
 wrote : — 
 
 " Under the walls of Or San Michele I stood and looked 
 at its St. George, where he leans upon his shield so calm,
 
 80 SCULPTORS OP THE RENAISSANCE. [i386. 
 
 so young, with his bare head and his quiet eyes. ' That is 
 our Donatello's/ said a Florentine beside me, — a man of 
 the people, who drove a horse for hire in the public ways, 
 and who paused, cracking his whip, to tell his tale to me. 
 ' Donatello did that, and it killed him. Do you not know ? 
 When he had done that St. George he showed it to his 
 master, and the master said, " It wants one thing only." 
 jSTow this saying our Donatello took gravely to heart, 
 chiefly of all because his master would never explain 
 where the fault lay ; and so much did it hurt him that he 
 fell ill of it, and came nigh to death. Then he called his 
 master to him. " Dear and great one, do tell me before I 
 die," he said, " what is the one thing my statue lacks." 
 The master smiled, and said, "Only — speech." "Then I 
 die happy," said our Donatello, and he died — indeed, 
 that hour.' 
 
 " N"ow I cannot say that the pretty story is true ; it is 
 not in the least true ; Donatello died when he was eighty- 
 three, in the Street of the Melon, and it was he himself 
 who cried, ' Speak, then, speak ! ' to his statue, as it was 
 carried through the city. But whether true or false the 
 tale, this fact is surely true, that it is well — nobly and 
 purely well — with a people, when the men amongst it 
 who ply for hire on its public ways think caressingly of a 
 sculptor dead five hundred years ago, and tell such a tale 
 standing idly in the noonday sun, feeling the beauty and 
 the pathos of it all. 
 
 " ' Our Donatello ' still for the people of Florence, — 
 ' Our own little Donatello ' still, as though he were living 
 and working in their midst to-day, here in the shadow 
 of the Stocking-makers' Street, where his Saint George 
 keeps watch and ward." 
 i For the fa9ade of the Campanile at Florence Donatello
 
 §TAlc liUUi u/j.LI:/wi.i'o'v>iu,
 
 1386.J DOXATELLO. 81 
 
 executed three marble statues, called saints, but really 
 lifelike portrait-figures of well-known personages. One of 
 these, the famous Zuccoue (Baldpate), is one of the mas- 
 ter's most striking works, and was so great a favorite with 
 him that he was in the habit of affirming, " By the faith 
 that I place in my Zuccone." He also executed several 
 marble statues for the fa(^ade of the cathedral, but these 
 were afterwards removed ; some have disappeared, and 
 others are now in the interior of the building. 
 
 In the interior of the church of S. Croce, above the 
 western entrance, is his statue of St. Loids of Toulouse, 
 not an attractive work, for the sculptor intentionally rep- 
 resented the saint as stupid and awkward, because it was 
 " foolish of him to give up the reins of government and 
 become a monk." Still more disagreeable, perhaps, is an 
 emaciated figure of the Magdalen, carved in wood, in the 
 Baptistery of Florence ; and a gaunt St. John in the 
 chapel of that saint in the cathedral of Sienna. An excel- 
 lent example of Donatello's treatment of portrait sculp- 
 ture is his monument of the deposed Pope, John XXIII., 
 in the Baptistery of Florence. 
 
 His bronze Judith and Holofernes in the Loggia de' 
 Lauzi was executed fur Cosimo de' Medici, and remained 
 in the palace of the ^ledici until their expulsion, when it 
 was placed in front of the palace of the Signoria. It was 
 placed in its present position in 15G0. 
 
 The most im])ortant of all his works in l)ronze is the 
 equestrian statue of Erasmo di Narni, called Gattamelata, 
 leader of tlie Venetian troops, erected in front of the 
 church of S. Antonio in Padua, by the Signoria of Ven- 
 ice. This immense work was finished by Donatello with 
 great succe.ss, and U) the great admiration of the Paduans, 
 
 who sought by every means to retain so talented a sculp- 
 
 6
 
 82 SCULPTORS OF THE RENAISSANCE. [1386. 
 
 tor ; and it is still regarded with fresh admiration as a 
 masterpiece of the Eenaissance art. Schorn criticises the 
 figure of the rider as being too small in relation to that of 
 the horse ; and Masselli observes that the horse moves 
 by lifting two feet upon the same side at a time ; but 
 goes on to remark that the same thing is true of numerous 
 horses, antique as well as modern, not excepting the work 
 of Phidias upon the Parthenon. Liibke says : " For the 
 first time since the period of the Piomans we here find 
 an equestrian statue executed in a monumental spirit, and 
 in colossal proportions. Even in this respect the work 
 possesses an historical importance as the first of all sub- 
 sequent monuments of the kind. But the vehement life, 
 the energetic bearing of the rider, and the heavy step of 
 the battle-horse, which is too massive compared with the 
 horseman, and claims too much of the attention, — these 
 are excellences which impart a value of their own to 
 this production." Eeferring to this work as an exam- 
 ple of Donatello's study of animal nature, Cavalcaselle 
 says : " The statue of Gattamelata at Padua, not merely 
 displays the master's power in limning the human form, 
 but reveals his ability in rendering that of the horse. 
 Donatello, in fact, shares with Verrocchio the honor of 
 having, in equestrian statues, made a nearer approach to 
 the antique than any Italian sculptor of subsequent or 
 previous times." In words the best idea of this work 
 is conveyed by M. Taine's forcible description : " In his 
 cuirass, with his head bare and his baton of command in 
 his hand, he sits firmly on a stout-limbed charger, a vig- 
 orous animal, for use and for war, and not for show ; his 
 bust is full and square; his great two-handed sword 
 hangs below his horse's belly ; his long spurs with big 
 rowels can bury themselves deep in the flesh when a per-
 
 1386.] DONATELLO. 83 
 
 ilous leap is to be made over a fosse, or to surmount a 
 palisade ; he is a rude warrior ; and as he sits there in his 
 harness you see that, like Sforza, his adversary, he has 
 passed his life in the saddle. Here, as at Florence, Dona- 
 tello dares to risk the entire truth, the crude details that 
 seem uniijracious to the vulgar, the faithful imitation of 
 the actual person, with his own features and professional 
 traits ; the result of which is, here as in Florence, a frag- 
 ment of living humanity, snatched breathing out of his 
 century, and prolonging, through its originality and ener- 
 gy, the life of that century down to our own." 
 
 As an artist Donatello was greatly esteemed by Cosimo 
 de' Medici, who kept liim much employed, and to whom 
 the sculptor was bound by the strongest affection, com- 
 prehending the wishes of his patron upon the slightest in- 
 timation, and fulfilling them with a loyal obedience. To 
 his benefactors, the family of tlie Martelli, he showed a 
 constant love and devotion, and various sculptures by his 
 hand were presented to them and preserved in the family 
 as if he were really a son and brother. Among these was 
 a figure of St. John, concerning which a deed of trust was 
 executed to the effect that it should never be sold, pledged, 
 or given away, but remain in the family as a testimony of 
 their love to Donatello, and his grateful regard to them. 
 A beautiful .statue of St. John Bajtlist is still preserved 
 in the I'alazzo Martelli in the Via Martelli in Florence. 
 
 Although so friendly and overilowing with kindly im- 
 pulses, Donatello was yet proud and uncompromising in 
 all tliat pertained to his art. On one occasion he had re- 
 ceived, through the influence of Duke Cosimo, a commis- 
 sion from a Genoese merchant for the execution of a life- 
 sized bust. The work was finished in the sculptor's most 
 beautiful manner ; but when the merchant came to pay
 
 84 SCULPTORS OF THE RENAISSANCE. [im 
 
 for it, he was dissatisfied with the price demanded. The 
 matter was referred to Cosimo, who, to exhibit its excel- 
 lence, caused the bust to be placed in a most favorable 
 place in the palace front, assuring the merchant that the 
 price which he considered sufficient was indeed too little ; 
 to this the reply was, that Donatello could have made the 
 bust in a month or something over, " thus gaining more 
 than half a florin a day." On hearing this, Donatello 
 turned in anger, and, with a scornful remark to the mer- 
 chant, gave the bust a blow, which threw it to the street 
 below, and dashed it to pieces. 
 
 Donatello was asked to make the statue of St. Philip, 
 patron saint of the Hosiers, erected in one of the niches 
 of Or San Michele by L'Arte delle Calze, but the price 
 asked for the work was considered exorbitant by the 
 guild, who afterwards commissioned his pupil Nanni di 
 Banco to execute it. Confiding in the judgment and 
 honesty of the master, they consulted him in regard to a 
 proper compensation for the work, when to their surprise 
 he named a sum exceeding the one he had asked for him- 
 self, giving as a reason that Nanni was less experienced, 
 and would thus be obliged to give more time to it. 
 
 One of the branches of art in which Donatello was 
 most fertile was that of relief sculpture. In the difficult 
 task of modelling in low relief, he perhaps surpasses all 
 other artists of Italy ; his bronze reliefs, so delicately 
 wrought, so graceful and natural, reveal the exuberance 
 of his fancy, his nice observance of nature, and his patient 
 study of the classic style. Though it may be justly 
 charged that his draperies were sometimes over-labored, 
 he never created a figure simply to hang draperies upon, 
 — the spectator is always conscious that a vital hu- 
 man body animates and regulates the flow of every line.
 
 1386.] DONATELLO. 85 
 
 Among liis finest relief sculptures are the adornments of 
 the old Sacristy of S. Lorenzo. It was built by Cosinio 
 de' Medici, and contains his tomb, also the work of Dona- 
 tello. The reliefs in stucco upon the walls and pen- 
 dentives, representing sacred and legendary scenes, are 
 simple and beautiful, and the figures of saints and evan- 
 gelists in medallions and above the doors are lifelike 
 and noble. He also executed the two bronze gates of tlie 
 old Sacristy. The bronze reliefs of the pulpits of S. l/i- 
 renzo are among the last works executed by the master, 
 and were completed by his pupil Bertoldo after his death. 
 These represent scenes from the Passion, and are among 
 Donatello's most expressive delineations. He also exe- 
 cuted various reliefs in the choir of S. Antonio in Padua ; 
 upon the high altar, scenes from the life of St. Anthony, 
 and in the choir gallery, an Entombment. The bronze 
 gates of the Chapel of the Sacrament are beautiful ex- 
 amples of his work. 
 
 In the cathedral of Prato, at the left of the entrance, is 
 the Cappella della Sacra Cintola, in which is preserved 
 the legendary girdle of the Virgin. According to the tra- 
 dition the girdle was given by St. Thomas to one of his 
 disciples when he was about setting out as a missionary 
 to the East. A thousand years after, the relic Avas be- 
 stowed ui)on the daughter of a Greek priest at Jerusalem, 
 — in whose family it had been preserved, — as a dowry, 
 upon her marriage with Michele dei Dagomari, of Prato, 
 who had joined the crusade of lOOG, and who, at his 
 rleatli, bequeathed the girdle to Bishop Uberto. In 1428 
 the wardens of the sacred relic commissioned Donatello 
 to execute an external ])ulpit, from which it sluiuld be 
 periodically exhibited to the people ; and thi; work was 
 completed about 14:}4. The i)ul])it, which projects from
 
 86 SCULPTORS OP THE KENAISSANCE. [i38& 
 
 one corner of the west front of the cathedral, is of marble, 
 divided into seven panels, upon which are beautifully 
 sculptured dancing children. The art with which the 
 sculptor has carved these groups, producing the most dis- 
 tinct effects, while executing even the high reliefs in a 
 manner to protect them from injury, is deserving of great 
 praise. 
 
 Donatello rarely succeeded in the expression of deep 
 religious feeling. With the asceticism portrayed by many 
 of the artists of the time he had no sympathy, and he 
 never affected any. The nearest approach to anything 
 like a tender and reverent feeling in his sacred subjects is, 
 perhaps, to be found in his Annunciation, and yet this is 
 characterized by more of timidity and naivete than real 
 religious feeling. His scenes from the Passion, upon the 
 pulpit of S. Lorenzo, express deep and agitated feeling, 
 but it is the natural outburst of human emotion, unmixed 
 with any sentiment of religion. In the scene of the De- 
 position every degree of horror, pity, amazement, and 
 solicitude finds place, and nothing could be more real as 
 an expression of profound human sympathy. Most of 
 Donatello's subjects, however, are religious ; and certainly, 
 from their treatment we cannot consider him entitled 
 to the name sometimes given him, of a Pagan in art, if 
 he falls short of what is claimed by others in regard to 
 the high religious character of his works. Always hum- 
 ble, simple, honest, and charitable himself, his creations 
 are not wanting in all kindly, practical human virtues. 
 
 Though praised and petted by the rich and the noble, 
 Donatello manifested no ambition for luxury or display, 
 or the accumulation of wealth. It is said that he kept 
 his money in a basket in his atelier, where friends and de- 
 pendents were in the habit of helping themselves. Cosimo
 
 1386.] DONATELLO. 87 
 
 de' Medici once sent bini a mantle and cap, that his fa- 
 vorite sculptor might appear more suitably dressed ; but 
 after wearing them once or twice, he returned them to 
 the donor, saying they were too dainty for him. At 
 Cosimo's death he commended Donatello, who was then 
 an old man, to the care of his son Piero, who bestowed 
 upon him a farm, thus securing him against the possibil- 
 ity of want. At first the aged sculptor rejoiced in this 
 gift ; but after holding it for a short time he restored it to 
 Piero, declaring that he would rather starve than be pes- 
 tered as he was with the continual outcries of the farmers 
 that one thing or another was out of order. Piero kindly 
 relieved him of his troublesome possessions, and, to his 
 great satisfaction, assigned him an income which placed 
 liim above both want and care for the remainder of his 
 life. 
 
 Donato died in 1468, and, according to his request, 
 was buried in the church of S. Lorenzo, near the tomb of 
 his beloved patron, Cosimo de' Medici. Vasari tells us 
 that his obsequies were most honorably performed, and 
 he was followed to the tomb, not only by all the painters, 
 architects, sculptors, and goldsmiths, but by nearly all 
 the inhabitants of the city ; and tliat it was not until " a 
 long time after that they ceased to compose verses in his 
 honor in different languages, and of various kinds." 
 
 Borghini, tlie learned Italian antiquary, made a large 
 collection of the drawings of distinguished painters and 
 sculptors, and upon two representative drawings, one by 
 Donatello, the other by Michael Angelo, placed opposite 
 each other, he inscribed : " Either the spirit of Donato 
 worked in Buonarotti, or that of Buonarotti first acted in 
 Donato."
 
 88 SCULPTORS OF THE RENAISSANCE. [i386. 
 
 MICHELOZZO MICHELOZZI. 
 
 MICHELOZZO MICHELOZZI, called also Miche- 
 Lozzo Di Baktolommeo di Gheeardo, and Miche- 
 Lozzo DI BoRGOGNONE, and again simply Michele, was a 
 Florentine sculptor and architect, probably born in 1386. 
 He was the pupil and assistant of Donatello. In his 
 youth he received instruction from Lorenzo Ghiberti, and 
 assisted him in the execution of one of the statues for Or 
 San Michele. He appears to have followed Donatello's 
 style, though he manifested less independent power than 
 his master. In architecture he chiefly distinguished him- 
 self, designing a number of important edifices, both public 
 and private. He was patronized by Cosimo de' Medici, to 
 whom he was so strongly attached that he voluntarily 
 shared his exile in 1433, following him to Venice, and 
 remaining until his patron returned to Florence. In the 
 mean time he was occupied with designs for various build- 
 ings in Venice. In Florence he erected the palace now 
 called Eiccardi, for Cosimo de' Medici, commenced in 1430. 
 It is a fine example of the older Florentine style, grand 
 and simple. " It possesses a splendid facade three hun- 
 dred feet in length by ninety in height. The lower story, 
 which is considerably higher than the other two, is also 
 bolder, and pierced with only a few openings, and these 
 spaced un symmetrically, as if in proud contempt of those 
 structural exigencies which must govern all frailer con- 
 structions." * The lower story is of huge stones, roughly 
 hewn, while the decorations of the upper part are very 
 elaborate and rich. 
 
 After the death of Cosimo, Piero de' Medici commis- 
 
 * Fergusson.
 
 1386.] MICHELOZZO MICIIELOZZI. 89 
 
 sioned ^Miehelozzo to construct and adorn the chapel (in 
 front of the choir) in S. Miniato al :Monte, in -which to 
 enshrine the miraculous crucifix of S. Giovanni Gualberto, 
 afterwards removed to S. Triuit^i. The sculptures in relief 
 in this cliapel are very beautiful. 
 
 His last work was the design for the chapel of the An- 
 nunziata in the church of the Servi in Florence, erected 
 to the memory of Cosimo de' Medici, by his son Piero. 
 
 He died in the sixty-eighth year of his age, according 
 to Vasari's account, and was buried in the church of S. 
 Marco. In the Academy of Art in Florence is a portrait 
 of Michelozzo, by Fra Angelico, — one of the figures in the 
 Deposition from the Cross, painted for Santa Triuit;\. 
 
 Vasari thus moralizes on the life of this artist : " If all 
 who inhabit this world would consider that they may 
 have to live when they can no longer work, there would 
 not be so many who are reduced to beg that in their old 
 age which they have squandered without any kind of re- 
 straint in their youth, when their large and liberal gains, 
 blinding their judgment, have tempted them to spend be- 
 yond what was needful, and much more than was right 
 and suitable. "Wherefore, since he who has fallen from 
 possessing much to having little or nothing is often 
 looked upon but coldly, each should endeavor, but in all 
 rectitude, and preserving the medium, to prepare in such 
 sort that he shall not have to beg in his old age. Thus, 
 he who will do as Michelozzo did (who would not imitate 
 hLs master, Donatello, in this respect, although he did so 
 in his art) will live honorably all the days of his life, and 
 will not be compelled in his last years to go about miser- 
 ably seeking the means of existence." 
 
 According to Fhn-entine liistory, tlie son and grandson 
 of Michelozzo occupied positions of trust and honor.
 
 90 SCULPTORS OF THE RENAISSANCE. [woo. 
 
 LUCA DELLA ROBBIA. 
 
 LUCA DELLA EOBBIA, a Florentine sculptor, was 
 born in 1400. When very young he was placed 
 with a goldsmith, with whom he learned drawing and 
 modelling ; when later he began to work in bronze and 
 marble, he seems to -have found the true field for his 
 genius, though Ids works in terra-cotta are so superior. 
 He has been called the inventor of the art of euamellinsr : 
 but as the process was known even to the Egyptians, and 
 familiar to the Greeks and Eomans, this artist can only 
 be regarded as the first who adapted it to sculpture. The 
 process of covering reliefs in burnt clay with a colored 
 glazing was by Luca and his pupils carried to great 
 perfection. From the great durability of these glazed 
 surfaces, the works of this school are in excellent pres- 
 ervation. 
 
 Among his early works are reliefs upon the north side 
 of the Campanile at Florence. They consist of symboli- 
 cal representations of grammar, philosophy, music, geom- 
 etry, and astrology. For the cathedral he executed in 
 connection with Donatello the marble frieze for the organ 
 gallery, a portion of which may now be seen in the Uf- 
 fizi. These reliefs are charming in their freshness and 
 childlike naivete. Tbe singing boys in their energy 
 and hearty fervor present such a picture of youthful life 
 and joyousness as is indescribable. Full of animation in 
 face and attitude, and expressing a variety of gesture and 
 movement, all is yet graceful and harmonious. 
 
 He executed the bronze door for the old sacristy of the 
 cathedral, assisted in the early part of the work by other 
 artists ; and above the two doors of the sacristy he exe-
 
 1400.] LUCA DELLA RUBBU. 91 
 
 cuteJ in glazed clay reliefs of the Resurrection and the 
 Ascension. In S. Apostoli in Florence is an altar in 
 ten-a-cotta, which is one of his most beautiful works. In 
 the ^luseum of tlie Bargello is a whole collection of the 
 works of Luca and his followei-s. In the Louvre are a 
 number of reliefs attributed to this artist ; and, indeed, 
 most of the large European collections possess examples 
 of the terra-cotta work of his school. 
 
 Luca's sculptures are marked by great simplicity of 
 character, and a true religious feeling. His favorite sub- 
 jects were evidently those of a calm and devout charac- 
 ter, as the Madonna and Child, saints, and angels. In 
 subjects demanding a more dramatic style he exhibited 
 less skill. 
 
 He died in 1481. 
 
 The sons of Luca, and his nephew, were followei-s of his 
 style, and took part in some of his works. Later, some of 
 these artists produced independent works of great excel- 
 lence. One of the sons, Luca, excelled in the production 
 of glazed terra-cotta for pavements ; and Jthe floors of the 
 Raphael Loggie of the Vatican were his work. 
 
 -^STATE RORr-IAL SCHOOL, 
 
 GIOVANNI ANTONib AMADEO. 
 
 GIOVANNI ANTONIO AMADEO, or Omedeo, was 
 born at Pavia about 1400. He is one of the most 
 import;int sculptors of L^pper Italy. It is probable that 
 he was one of the group of talented artists employed 
 upon the decorations of the Certosa of Tavia. 
 
 His principal works are the monuments of the Venetian 
 General, Bartolommeo CoUeoni, in the Colleoni Chapel
 
 92 SCULPTORS OF THE RENAISSANCE. [i4oo. 
 
 at Bergano, and that of Medea Colleoni, only cHld of the 
 commander, erected in the church of Basella, on the 
 Serio, but now in the same chapel. The Colleoni chapel 
 adjoins the church of S. Maria Maggiore, and is one of 
 the most magnificent works of Upper Italy. The fagade 
 is of red and white marble, and around the windows 
 are beautifully sculptured reliefs, probably by Araadeo. 
 They represent the creation of Adam and Eve, the Fall, 
 and the expulsion from Eden, the death of Abel, and the 
 sacrifice of Abraham. Upon the framework of the por- 
 tal are also ornamental reliefs. Opposite the entrance to 
 the chapel is the grand monument of Colleoni, lavishly 
 adorned with sculptures. It consists of two sarcophagi. 
 The lower and larger one rests upon fluted pillars sup- 
 ported by lions, and is encircled with a beautiful frieze 
 consisting of small nude figures engaged in various 
 games, and supporting medallions with coats of arms 
 and heads of emperors. Above this frieze are reliefs 
 of the Annunciation, the Nativity, and the Adoration of 
 the Magi. Upon the upper sarcophagus are represent- 
 ed in relief the Bearing of the Cross, the Crucifixion, 
 the Deposition from the Cross, and the Eesurrection, — 
 the latter scene supposed to be the work of some other 
 sculptor. Upon this sarcophagus is a life-size equestrian 
 statue of the deceased, of gilt wood, accompanied by 
 marble statues of the Virtues ; above is a baldachin 
 supported by two slender columns. 
 
 The monument of Colleoni's daughter Medea is affixed 
 to the left side wall of the chapel, in a niche enclosed by 
 pilasters. The sarcophagus rests upon three winged 
 angels' heads ; upon the central compartment is repre- 
 sented the dead Christ worshipped by angels. The 
 figure of the deceased rests in quiet attitude upon the
 
 1400] GIOVANNI ANTONIO AMADEO. 93 
 
 sarcophagus, clothed in a loug, Howiug robe of brocade ; 
 the expression of the face is cahn and serene. Above is 
 a tine relief of the Madonna and Child, with saints. In 
 its unobtrusive elegance and charm of execution this 
 monument is scarcely sur[)assed by any work of its kind. 
 It is not certain that all the details of these two monu- 
 ments are by the hand of Amadeo, but the portions which 
 are well authenticated, together with his other remaining 
 works, are sufficient to prove him to have been one of 
 the most able artists of Ids time. He died in 1474. 
 
 MINO DA FIESOLE. 
 
 MIXO DA FIESOLE, or Mixo di Giovanni, was 
 born in Fiesole in 1400. He was a pupil of De- 
 siderio da Settignano, and appears to have followed the 
 style of his master, and, like other sculptors of his time, 
 exhibits the influence of Donatello. He was earnestly 
 devoted to sculpture, and acquired great skill, particularly 
 in the decorative part of the art. He executed various 
 works of importance in Florence, and later went to Iiome, 
 where he labored in the style of the Florentine Ileuais- 
 sance. 
 
 One of the finest of all the w^orks of this sculptor is in 
 the church of the Badia at Florence, — the monument of 
 Bernardo Giugni, who had filled the office of Gonfaliere 
 Giustizia, with great honor. The statue of the deceased 
 upon the sarcophagus is a portrait ; behind is a figure of 
 Justice, holding a sword and balancc^v In the Museum 
 of the Bargello are three [)ortraits in low relief attributed 
 to Mino ; they represent Frederick, Duke of Urbino, Bat- 
 tiste Sforza, and Galeazzo Sl'orza.
 
 94 SCULPTORS OF THE RENAISSANCE. [i400. 
 
 In the cathedral at Fiesole is the monument of Bishop 
 Lionardo Salutati, the friend of Pope Eugenius IV., and 
 also a beautiful bas-relief representing the Madonna with 
 St. Eemigius and St. Leonhard, by Mino. " The bust of 
 Bishop Salutati is certainly one of the most living and 
 strongly characterized ' counterfeit presentments ' of na- 
 ture ever produced in marble. Any one who has looked 
 at those piercing eyes, strongly marked features, and that 
 mouth, with its combined bitterness and sweetness of ex- 
 pression, knows that the Bishop was a man of nervous 
 temperament, a dry logical reasoner, who, though some- 
 times sharp in his words, was always kindly in his deeds. 
 From the top of his jewelled mitre to the rich robe upon 
 his shoulders, this bust is finished like a gem. It stands 
 below a sarcophagus, resting upon ornate consoles, upon 
 an architrave supported by pilasters, and adorned with 
 arabesques. In design this tomb is perfectly novel, and, 
 as far as we know, has never been repeated, despite its 
 beauty and fitness." * Opposite is the altar-piece with 
 the above-mentioned bas-relief. 
 
 Among his works in Eome is the fine monument of 
 Francesco Tornabuoni, in S. Maria sopra Minerva. He 
 also executed the monument of Pope Paul II., the re- 
 mains of which are now in the crypt of St. Peter's. 
 
 In the cathedral of Prato is a circular marble pulpit, 
 sculptured by this artist in connection with Antonio Eos- 
 sellino, which is remarkable for its elegant foliage and 
 other ornamentation ; the figures are of less excellence. 
 
 For the cathedral at Volterra, Mino executed a beauti- 
 ful ciborium, with two angels, standing one on either side. 
 The ciborium is now in the Baptistery. This artist died 
 in 1486, and was buried in his native Fiesole. 
 
 * C. C. Perkins.
 
 14 ] DESIDERIO DA SETTIG^'A^'0. 95 
 
 DESIDERIO DA SETTIGNANO. 
 
 DESIDEEIO DA SETTIGXAXO was probably born 
 in the early part of the lil'teeuth century. His 
 name implies that he was a native of Settignano, but 
 some authorities call him a Florentine. He appeal's to 
 be a follower of Donatello, but is remarkable for a more 
 soft and graceful style. He executed various admired 
 works, many of which are still in existence ; the most im- 
 portant is the monument of Carlo ]\Iarsuppini, secretary 
 of Pope Eugeuius IV., in S. Croce, in Florence. The de- 
 sign of this work is attractive, and the details are of 
 extraordinary beauty. The recumbent statue of the de- 
 ceased, which is a portrait, rests upon a sarcophagus, 
 which is ornamented with sculptured foliage. At the 
 head and feet are two genii bearing the insignia. Above 
 is a medallion relief of the Madonna and Child, with 
 angels on either side. 
 
 In the Palazzo Strozzi is a ])ortrait bust of ^Marietta di 
 Palla degli Strozzi. ^Ir. Symonds said of this : " Xone 
 but men courteous and unaffected could have carved a 
 face like that of Marietta Strozzi, breathing the very spirit 
 of urbanity." 
 
 For the Chapel of the Sacrament in S. Lorenzo at 
 Florence, Desiderio executed the marble decorations, 
 among them the figure of the Child Christ, in full relief. 
 These were removed to another part of the church some 
 time later, but the figure of the Holy Child has now been 
 rtistored to its original ])lace. This was the"Gesu r>am- 
 bino " which was carried through tlie streets by a company 
 of children, who, under the direction of Savonarola, calk-il 
 for every work of art of an iunaoral tendency, that it 
 might be destroyed.
 
 96 SCULPTORS OF THE RENAISSANCE. [14... 
 
 In the clmrch of tlie Badia, at Fiesole, is a relief attrib- 
 uted to Desiderio. 
 
 Vasari says of this sculptor : " The thread of his life 
 was cut short at the age of twenty-eight, to the deep 
 grief of all those who had hoped to behold the perfection 
 to which such a genius would have attained in its matu- 
 rity, and who were more than dismayed by so great a loss. 
 He was followed by his relations and numerous friends 
 to the church of the Servites." It is believed, however, 
 that Desiderio lived to a more advanced age than is as- 
 signed him by this biographer. 
 
 By Giovanni Santi this sculptor was called " II bravo 
 Desider, si dolce e bello." 
 
 ANTONIO ROSSELLINO. 
 
 ANTONIO EOSSELLINO, a Florentine sculptor of 
 note, was born in 1427. His family name was 
 Gamberelli. He worked chiefly in marble, and for this 
 reason probably his works display a more agreeable soft- 
 ness of outline than those of his contemporaries who 
 worked in gold and bronze. Vasari eulogizes this artist 
 as one " who pursued his calling with such devotion and 
 so much grace that he was esteemed something more than 
 a man by all who knew him, and was venerated almost 
 as a saint for the admirable virtues which he added to 
 his knowledge of art." 
 
 Eossellino executed several sepulchral monuments, 
 which are remarkable for tasteful composition and ar- 
 rangement, and which show also that he was master of 
 the technical part of his art. One of these — perhaps the
 
 1427] ANTONIO ROSSELLINO. 97 
 
 finest of all his works — is the monuraent of the Cardinal 
 of Portugal, in the church of S. Miniato, in the neiglibor- 
 hood of Florence, executed about 1459. Upon the sar- 
 cophagus lies the figure of the deceased, in which the 
 tranquillity of death is truthfully expressed ; at the head 
 and foot are figures of children of infantile grace and 
 beauty, and above, two angels are bearing a crown. In 
 the arched top is a medallion borne by angels, in which 
 is a lovely Madonna and Child. The whole is very 
 richly and chastely decorated ; the variety of emblems 
 and ornaments forms a fascinating study, and the eye fol- 
 lows its details again and again without wearying. The 
 chapel (S. Giacomo) wliich contains this monument was 
 built from designs by Eossellino. 
 
 A repetition of this design was executed in 1470 for 
 the monument of Mary of Aragon, wife of Antonio Pic- 
 colomini, Duke of Amalfi. Especially beautiful are Pos- 
 sellino's representations of the Madonna in these works, 
 — gracious, womanly, maternal. This monument is in 
 the Piccolomini chapel of ^lonte Oliveto in Naples. In 
 the same chapel, adorning tlie altar, is a Nativity, — prob- 
 ably the work of Possellino, though it has been attributed 
 to Donatello, — with a dancing choir of angels above, of 
 wonderful grace and beauty. This sculptor assisted Mino 
 da Fiesole in the execution of the reliefs upon the pulpit 
 of tlie cathedral at Prato in 1473. Those by his hand 
 are tlie Assumption of the Virgin, and the Martyrdom of 
 Steplien. In the gallery of the Uflizi at Fbjrence are 
 marble reliefs of Scripture scenes by llossellino. He died 
 about 1490. 
 
 Bernardo, brother of Antonio Kossellino, M-a.s a sculp- 
 tor and architect who also left excellent works in marble. 
 
 7
 
 98 SCULPTORS OF THE RENAISSANCE. [1427. 
 
 Among them are tlie monument of Leonardo Bruni, in the 
 church of S. Croce, in Florence, and that of Beato Villani 
 (who died in 1360, and was canonized in the present 
 century), in S. Maria Novella. The deceased is repre- 
 sented lying in the attitude of quiet repose ; two angels of 
 great beauty are bearing a scroll upon which an epitaph 
 is inscribed. Bernardo was much employed with works 
 in architecture. 
 
 ADAM KRAFFT. 
 
 ADAM KEAFFT, one of the most important Ger- 
 man sculptors of the fifteenth century, was born 
 about 1430. There remain a comparatively small number 
 of well-authenticated works by this master, and these 
 were produced in his later years. They are remarkable 
 for expression and refinement of feeling. His characters 
 are lifelike and real, and his sacred subjects, which are his 
 chief productions, are full of elevated spirituality. His 
 personages are not remarkable for ideal beauty ; like 
 Diirer's, they are intensely human, yet ennobled by the 
 highest aspirations and the most profound emotions. 
 
 The earliest authenticated works of Krafft are his 
 scenes of the Passion, known as the Seven Stages, sculp- 
 tures on the road leading to the cemetery of St. Johannes 
 at Nuremberg. These reliefs are full of life and action, 
 and bring before the spectator the different scenes which 
 transpired on the way to Calvary with thrilling power. 
 They are crowded with figures, yet distinctly arranged, 
 and all parts are in keeping. The first scene represents 
 the meeting of Christ with his mother, and depicts the
 
 1430.] ADAM KRAFFT. 99 
 
 most profound sorrow. The second represents liim sink- 
 ing beneath the burden of the cross ; and the third, liis 
 address to the weeping women who are following him. 
 The fourth scene is the meeting with S. Veronica, who, 
 according to the legend, met the Saviour on liis way to 
 the crucifixion, and gave him her veil with which to wipe 
 the sweat from his brow. The fifth portrays the rude and 
 violent treatment of the persecutors ; and the sixth, the 
 moment in which he falls beneath the weight of the cross. 
 The last scene is the dead body of Christ supported on 
 the lap of his mother, and is of the most touching char- 
 acter. Krafft's figures are usually short and of a some- 
 what coarse stoutness, but the form of Christ in this relief 
 is slender, and of a more ideal delicacy, and the head is of 
 an exalted expression. These scenes have been injured 
 both by exposure and by restoration. 
 
 In the church of St. Sebald is this master's largest, and 
 one of his finest works, Schreyer's monument. He has here 
 represented the Crucifixion, the Entombment, and the Res- 
 urrection. The scenes contain many figures, and are de- 
 picted with power and pathos. Other reliefs by him of a 
 similar character are in the same church. 
 
 Towards tlie end of the fifteenth century Krafft execut- 
 ed for the church of St. Lawrence a Tabernacle sixty-four 
 feet in height, enriched with architectural ornaments, — 
 compositions in bas-relief This Tabernacle, designed 
 as a receptacle for the Host, is spire-shaped, terminating 
 in a crooked finial. It is of stone, and the architecture 
 is very elaborate. The structure is supported by three 
 kneeling figures, life size, probably representing the sculp- 
 tor and his colleagues. Around the lower portion are 
 beautiful statuettes of saints, with the Aladonna. The 
 reliefs above consist of scenes from the Passion and the 
 Last Supper.
 
 100 SCULPTORS OF THE RENAISSANCE. [1430. 
 
 His last work is an Entombment in the Holzscliuber 
 Chapel in the cemetery of St. Johannes. He died in 
 1507. 
 
 Dr. Llibke says of this artist : " Krafft is perhaps the 
 truest mirror of the German nature. The sphere of his 
 representation is not vast. It is limited almost without 
 exception to the Glorification of Mary and the Passion of 
 her Son. But his whole mind has been absorbed in these 
 subjects, and he depicts them with a heartiness which is 
 all the more touching in effect, as the master with tender 
 awe avoids all display of the pathetic. The Passion 
 scenes are reproduced with more vehemence and excite- 
 ment by the greater number of the masters of the period; 
 but by none more touchingly and thrillingly. And this 
 truth of feeling elevates all his figures, and imparts to 
 their simple citizen-like character a breath of that spirit- 
 ual beauty which makes us even forget the want of ideal 
 beauty." 
 
 MICHEL COLOMB. 
 
 MICHEL COLOMB, called also Michault Colomb, 
 was a talented French sculptor, born in Bretagne 
 in 1431, and educated in the school of sculpture at Tours. 
 His best works are distinguished by bold and picturesque 
 design, and delicate execution. The first of the rooms in 
 the Louvre, dedicated to Renaissance sculpture, received 
 the name of this artist. It contains some of his celebrated 
 sculptures, — a marble bas-relief representing St. George 
 and the Dragon, executed in 1509, and kneeling statues of 
 Philippe de Comines, the statesman and historian, and his
 
 143L] MICHEL COLOMB. 101 
 
 wife. The masterpiece of Colomb is the mouument to 
 Fraucis II., Duke of Uretague, aud his wife, ^laiguerite 
 de Foix, in the cathedral of St. Pierre, at Xantes. It 
 is inscribed, " Par I'art et I'industrie de M. ^licliel Co- 
 lomb, premier sculpteur de son temps." 
 This artist died in 151-4. 
 
 ANDREA VEROCCHIO. 
 
 AKDPEA \^POCCHIO, also spelled Yerrocciiio, 
 was l)orn in Florence in 1432. He was goldsmith, 
 sculptor, and painter, and became one of the most influen- 
 tial artists of his time, producing many excellent works 
 and educating many distinguished pupils. His career 
 was one of great activity ; when requiring rest, he would 
 seek it only in changing from one branch of his art to an- 
 other. In the manly vigor of his style, Yerocchio some- 
 what resembles Donatello ; and though sometimes deficient 
 in ideal beauty, his works exhibit great power and energy, 
 and a knowledge of form and motion. Master of a wide 
 field, he succeeded in the grand and colossal, as in the mi- 
 nute and delicate. It is said of him that he shares with 
 Donatello the honor of making, in equestrian statues, a 
 nearer approach to the antic^ue than any other sculptor 
 of Italy. 
 
 One of his early works in seuli)ture is a bronze figure 
 of David, now in the Museum of the Bargello, in Flo- 
 rence. It represents the youthful champion as erect and 
 slender in form, .standing in a free aud natural attitude, 
 one hand resting upon the hip, the other hanging at his 
 side and holdint' a small switid ; the licad of Cloliath lies
 
 102 SCULPTORS OF THE RENAISSANCE. [1432. 
 
 at his feet. It well portrays the boyish shepherd, but in 
 beauty and grandeur it does not compare with the David 
 of Michael Angelo. 
 
 Verocchio's latest and most important work in sculp- 
 ture was the model for the bronze equestrian statue of 
 the Venetian general, Bartolommeo CoUeoni da Bergamo, 
 finished after the death of the artist, and placed in front 
 of SS. Giovanni e Paolo, in Venice, It is a work of great 
 power, and a masterpiece of the Eenaissance. Cicognara 
 thus praises it : " The horse seems ready to descend from 
 its pedestal. Its movements are full of energy without 
 being exaggerated. The rider is majestic, and, although 
 clothed in iron mail, he could not sit more easily and 
 gracefully. Without prejudice to progress, we think we 
 may say that no more beautiful work has since been pro- 
 duced in this style." M. Taine calls this warrior in bronze 
 " a weather-beaten camp-soldier who orders and shouts, — 
 not beautiful, but taken from life, and energetic." The 
 animated figure of the horse has been criticised by others 
 as not being true to nature in action, and as too heavy in 
 form. The work was cast by Alessandro Leopardo, whose 
 name is upon the girth beneath the body of the horse, 
 followed by " F. opus," which is doubtless to be rendered 
 Fusit opus. The lofty and graceful Corinthian pedestal 
 WAS also the work of Leopardo. 
 
 The strong and noble style of Verocchio no doubt aided 
 in forming that which his distinguished pupil, Leonardo 
 da Vinci, developed in such perfection. 
 
 He died in 1488, and was buried in S. Ambrogio, in 
 Florence.
 
 143a] ANTONIO POLLAJUOLO. 103 
 
 ANTONIO POL'LAJUOLO. 
 
 AXTOXIO POLLAJUOLO was an eminent Floren- 
 tine scnlptor, painter, and engraver. The date of 
 his birth is variously given, but it is now supposed to 
 be 1433. It is probable that Antonio and his younger 
 brother Piero, who was also a sculptor and painter, have 
 sometimes been confounded in the history of art. The 
 elder was the more gifted of the two brothers, though the 
 younger executed works of considerable excellence. 
 
 Antonio was originally a goldsmith, and labored with 
 Andrea Yerocchio, whom he resemldes to some extent. 
 lie was very skilful in bronze casting, and his works 
 were finished with great care. His style was evidently 
 improved by the study of the antique, and also influenced 
 by the bold and vigorous style of Donatello. 
 
 In tlie Museum of the Bargello, in Florence, is a bronze 
 relief representing the crucifixion of Christ and the two 
 thieves ; the Marys and the Apostles are in groups in 
 the foreground. It is executed with much skill, and is 
 remarkal)le for the expression of passionate feeling. Tlie 
 study of muscular anatomy is very marked in this work. 
 
 In Home, Antonio executed the monument of Sixtus 
 IV., which is now in the Chapel of the Sacramento in 
 St. Peter's. It is a rich and yet simple composition ; the 
 figure of the Pope lies upon the lid of the sarcophagus, 
 surrounded by the figures of the Virtues and figures repre- 
 senting the arts and sciences ; it is beautifully ornamented, 
 yet without confusion. It bears the date 1493. 
 
 The tomb of Innocent VIII., executed at about the 
 same time is in the same church, in the Chapel of the 
 Concezione. The style of this work is noble and chaste.
 
 104 SCULPTORS OF THE RENAISSANCE. [1433. 
 
 Above is a representation of the living Pope, one hand 
 raised in benediction, the other holding a dart. Below is 
 the recumbent figure in the quietness of death. Upon 
 the monument are figures of the Virtues in relief, and the 
 whole is richly ornamented. M. Wey says : " In its ele- 
 gant refinement, the ornamentation waits without solicita- 
 tion or stir for the eye to come and rest upon it." 
 
 Antonio Pollajuolo was one of the earliest of the Italian 
 artists who practised engraving. He died in 1498. Piero 
 died a little earlier. 
 
 VEIT STOSS. 
 
 YEIT STOSS ranks among the most eminent of the 
 early German sculptors. There has been much dis- 
 pute regarding his true name, as well as the date and 
 place of his birth. The Poles claim that he was born at 
 Cracow, but there seems to be no proof of this. It is be- 
 lieved that he was the son of Michael Stoss, a brass- 
 founder, who was admitted as a citizen of Nurembero- in 
 1415, and the time of his birth is supposed to be about 
 1438. His character was by no means admirable, though 
 many of his productions in sculpture are characterized by 
 great beauty and tenderness of feeling. According to the 
 records of Nuremberg he was a most troublesome citizen, 
 and even a criminal. He committed forgery, and, having 
 been convicted, would have suffered death but for the 
 interposition of various influential persons ; he was par- 
 doned after having suffered branding upon both cheeks. 
 In spite of all, he still continued " a restless and grace- 
 less citizen," plotting all manner of evil against tlie city
 
 1433.] VEIT STOSS. 105 
 
 of his birth (or his adoption), and was imprisoned for his 
 bad conduct, besides suffering other penalties. 
 
 Among the early works of his mature time, is the high 
 altar of the church of St. Mary's, at Cracow. Upon the 
 shrine is the Crowning of tlie Virgin, and the panels are 
 covered with incidents from her life in relief. In one of 
 the chapels of the cathedral at Cracow is the monument 
 of King Casimir the Great, a work of great richness, yet 
 of dignity and simplicity. The figure of the king in cor- 
 onation robes is resting upon the sarcophagus. Upon the 
 sides are represented different classes of men in lamen- 
 tation over the loss of their sovereign. Above rises a 
 graceful baldachin. It was executed about 1492. 
 
 In Nuremberg are to be found a number of important 
 and interesting works by Stoss. In the church of St. 
 Lawrence is a curious work in carved wood, suspended 
 from the vaulted ceiling in front of the high altar, repre- 
 senting the Salutation. The figure of the Virgin is full of 
 dignity and majesty, composed in manner, if somewhat 
 constrained. The figure of the Angel of the Annunciation 
 is marked by violent agitation and unseemly haste. 
 Around the composition are medallions, representing in 
 relief tlie seven joys of ]\Iary. 
 
 In the church of St. Sebald, upon the high altar, is a 
 crucifix, with the figures of Mary and St. John carved in 
 wood, of the date of 1526, ascribed by Neudorffer and 
 others to Stoss, and regarded as the artist's best work. 
 That it is by this master, wlio was then eighty-eight years 
 of age, is however disputed, tliougli it is executed in liis 
 style. Other reliefs attributeil to Stoss are to be seen in 
 Xurenjberg. Under liis hand the art of wood-carving 
 reached a marvellous perfection. In liis old age he be- 
 came entirelv blind. lie died in 1 5.'>.3.
 
 106 SCULPTORS or THE RENAISSANCE. [14427 
 
 BENEDETTO DA MAJANO. 
 
 BENEDETTO DA MAJANO, or Maiano, was born 
 in Florence in 1442 or 1444. He was eminent as 
 a sculptor and an architect, and also executed works in 
 mosaic. He had a sense of the beautiful strongly resem- 
 bling that manifest in Lorenzo Ghiberti, and he was at 
 least equal to that master in fertility of invention. Early 
 in life he practised wood-carving, and executed some very 
 beautiful decorative panelling for the Sacristy of S. Croce 
 in Florence. 
 
 Benedetto's principal work in sculpture is a marble 
 pulpit in S. Croce, which is among the finest productions 
 of the art of the fifteenth century. This work was ex- 
 ecuted by the order of Pietro Mellini, a merchant of Flo- 
 rence. The sculptor encountered much difficulty, during 
 the progress of his work, with the wardens of S. Croce. 
 The pulpit was erected against one of the columns which 
 support the arches of the roof, and, as it was intended to 
 perforate the column to make room for the staircase and 
 entrance to the pulpit, the wardens objected, fearing the 
 process would weaken the column. But the merchant 
 Mellini, who had confidence in Benedetto, guaranteed that 
 the work should be completed without danger of injury 
 to the building, and it was allowed to proceed. Vasari 
 says : " Benedetto then, first of all, caused the column to 
 be secured externally by strong bands of bronze, all that 
 part, that is to say, which from the pulpit downwards is 
 covered with granite {pietra forte) •, he then constructed 
 the steps for ascending the pulpit, and in proportion as 
 he excavated the column within did lie add to it exter- 
 nally the granite above mentioned, in the manner that we
 
 1442?] BENEDETTO DA MAJANO. 107 
 
 now see. He thus conducted this work to perfection, to 
 the astonishment of all who beheld it." The column has 
 not, since Yasari's day, given cause for any suspicion of 
 weakness. The reliefs upon the panels of the pulpit illus- 
 trate the life of St. Fi-ancis, in five scenes. Below are the 
 figures of Faith, Hope, Charity, Fortitude, and Justice, — 
 graceful and full of life. The reliefs are in perspective, 
 somewhat after the manner of Ghiberti's bronze reliefs 
 upon the doors of S. Giovanni, and like them are em- 
 bellished by landscape and architecture. The scenes are 
 not crowded, and the expression of the figures is lifelike, 
 while the drapery is of great excellence. 
 
 Admirable works by this scidptor are to be seen in the 
 ancient town of S. Gimignano " of the beautiful towers." 
 In the elaborate chapel of S. Fina in La Collegiata, the 
 Cathedral, is an altar by Benedetto ; and in the church of 
 S. Asostino is a memorial shrine of S. Bartolo, who died 
 of leprosy, from which he had suffered with such patience 
 as to be named " Augelo di Pace." He was buried in this 
 church in accordance with his wish, and the beautiful 
 shrine by Benedetto bears the sculptured stories of his 
 life. Above are sculptured angels bearing the martyr's 
 palm and crown, and in niches of the altar are statuettes 
 of Faith, Hope, and Charit)^ 
 
 Benedetto sculptured the bust of Pietro Mellini, which 
 is now in the gallery of the Uffizi. The marble tomb of 
 Filippo Strozzi, in the Strozzi chapel in S. Maria Novella, 
 is by tliis artist, and is marked by much .simplicity and 
 beauty of expression. Benedetto died in 1498, and was 
 buried in the church of S. Lorenzo, in Florence.
 
 108 SCULPTORS OF THE RENAISSANCE. [1445. 
 
 BACCIO DA MONTELUPO. 
 
 BACCIO DA MONTELUPO, written also Baccio da 
 Monte Lupo, properly Baetolommeo Lupi, an emi- 
 nent Italian sculptor, was born at Monte Lupo, near 
 Florence, in 1445. Vasari, in his story of Baccio, says : 
 " Led away in his youth by the pleasures of the world, he 
 would scarcely study at all, he had little or no esteem for 
 art, and, although frequently reproved and exhorted by 
 many to a more industrious life, these counsels did not 
 for the moment avail him. But when the years of dis- 
 cretion, which usually bring prudence with them, had 
 arrived, these taught him effectually the extent to which 
 he had departed from the right way ; wherefore, covered 
 with shame, as he thought of those who had passed before 
 him in his vocation, he resolved with good courage to 
 follow them, and thenceforward to devote himself studi- 
 ously to those labors which idleness had previously in- 
 duced him to shun. This determination, which he did 
 not abandon, caused Baccio to attain an eminence in 
 sculpture which many of those who had observed his 
 proceedings in early youth had long ceased to expect ; 
 devoted with all his powers to the study of his art, and 
 laboring very diligently, he became excellent and dis- 
 tinguished in the vocation before neglected." 
 
 Baccio worked in stone, bronze, and wood. He carved 
 a great number of wooden crucifixes, some of the size of 
 life. A few of these are still in existence, but most of 
 them have been lost or destroyed. His masterpiece is 
 the statue of St. John the Evangelist, in one of the niches 
 upon the exterior of Or San Michele, in Florence. Baccio 
 died about 1533.
 
 I44i] BACCIO DA MONTELUPO. 109 
 
 His son, Eafael da Montelupo, born in 1503, was also 
 a sculptor, and appears to have surpassed his father, at 
 least in knowledge of art. He executed some of the bas- 
 reliefs in the Casa Santa at Loreto, after the designs of 
 Andrea Sansovino. His best work is the monument of 
 Baldassare Turini, in one of the chapels of the cathedral at 
 Pescia. In Eome he was appointed architect of the castle 
 of S. Angelo, by Cardinal Tiberio Crispo. He decorated 
 many of the apartments with sculptures, and placed upon 
 the summit of the edifice a marble statue of St. Michael. 
 This was afterwards replaced by a bronze statue of inferior 
 merit by a German sculptor. This artist assisted JMichael 
 Angelo upon the work of the monument of Julius II., in 
 S. Pietro in Vincoli, and upon the tombs of the Medici in 
 Florence. He executed the statue above the tomb of 
 Leo X. in S. Maria sopra Minerva. He died in 1570. 
 
 ALESSANDRO LEOPARDO- 
 
 ALESSAXDEO LEOPARDO, born at Venice in 1450, 
 was a sculptor, whose works are very highly es- 
 teemed for their elegant design and masterly execution. 
 Among his finest productions is the mausoleum of the 
 Doge, Andrea Vendramin, in SS. Giovanni e Paolo in Ven- 
 ice. It is enriched with admirable statues and reliefs, and 
 altogether is scarcely surpassed by any existing work in 
 memorial sculpture. Tlie figure of the Doge rests upon 
 the sarcophagus guarded by eagles, and upon the sub- 
 structure are beautiful statues of the Virtues. The whole 
 is adorned with reliefs of poetic design and delicate ex- 
 ecution. In the chapel of Cardinal Zeno, in S. Marco, is
 
 110 SCULPTORS OF THE RENAISSANCE. [1450. 
 
 the finely wrought bronze tomb of the Cardinal by Leo- 
 pardo ; the bronze altar in the same chapel is also his work. 
 
 The pedestals of the three pillars in the Piazza of S. 
 Marco, which support the standards of the Eepublic, are 
 by this artist, and the elegance and perfection of their 
 proportions are greatly admired. He executed the bronze 
 equestrian statue of Colleoni after the design of Andrea 
 Verocchio. 
 
 Alessandro Leopardo was not a man of honor ; in order 
 to free himself from a heavy debt he committed a forgery, 
 for which crime he was sentenced to banishment from 
 Venice. The execution of the sentence was, however, 
 delayed, and finally remitted, in order that the sculptor 
 might finish the work of the Colleoni statue. He died in 
 1510. 
 
 LEONARDO DA VINCI. 
 
 LEOXAEDO DA VINCI was born at Vinci, a smaU 
 castle in the lower Val d' Arno, in 1452. This 
 illustrious name cannot consistently be omitted from a 
 history of sculpture, though not a single example of his 
 genius in this branch of art is in existence. He was the 
 earliest born, and in natural ability the greatest, of the 
 artists of the flowering time of the Eenaissance. He was 
 an illegitimate son of Ser Piero Antonio da Vinci, notary 
 to the Signoria of Florence. Nothing is to be learned of 
 his mother except the record that her name was Caterina, 
 and that she married a certain Accattabrisfa di Piero del 
 Vacca di Vinci, after the birth of Leonardo. 
 
 Leonardo was endowed by nature with the most ex- 
 traordinary gifts of intellect, and great versatility of
 
 1482.] LEONARDO DA VINCI. Ill 
 
 talent. His remarkable power and brilliancy were mani- 
 fested in every pursuit to which he turned his attention, 
 and all branches of knowledge were acquired with equal 
 ease and rapidity. Fascinated with scientific pursuits, 
 and eager for discovery, his attainments in this vast field 
 seem almost miraculous ; while poetry, and music, and all 
 the more graceful accomplishments, were cultivated and 
 enjoyed with the same enthusiasm. He was as attractive 
 in person as in mind, — Yasari says his beauty of person 
 " was sucli that it has never been sufficiently extolled," 
 — and to this were added the most pleasing manners and 
 address. M. Taine says of him : " The world, perhaps, 
 contains no example of a genius so universal, so creative, 
 so incapable of self-contentment, so athirst for the infi- 
 nite, so naturally refined, so far in advance of his own and 
 of subsequent ages." But with all that can be learned of 
 liis outward life, — which is, indeed, very little, — and with 
 all the patient and critical study of his works, Leonardo 
 da Vinci still remains in a great measure incomprehensi- 
 ble to the world. No other among the great artists of the 
 time is so little understood. As he enjoyed discovery for 
 itself, apart from all practical results, so he seemingly 
 enjoyed his art, content with having measured his ability 
 in this field of exercise ; and though an indefatigable 
 worker, he really accompHshed very little compared with 
 what his vast genius was capable of Of his work in art 
 scarcely more remains than is sufficient to indicate what 
 he might have achieved ; while his literary and scientific 
 writings, and the great mass of his drawings and plans, 
 are in such bewildering confusion that centuries of re- 
 search and attempts at classification have yielded but a 
 scanty harvest. 
 
 In Leonardo's youth painting appears to have been the
 
 112 SCULPTORS OF THE RENAISSANCE. [1452. 
 
 favorite of all his pursuits, and while dividing his time 
 among many things he never abandoned the practice of 
 drawing ; he also employed himself upon works in relief, 
 and when very young modelled heads in terra-cotta of 
 great excellence. It is said that he uudertook many 
 things which he never completed, " because it appeared 
 to him that the hand could never give its due perfection 
 to the object or purpose which he had in his thoughts or 
 beheld in his imagination." 
 
 In his early years he was instructed by Andrea Veroc- 
 chio ; and as we are informed of no other assistance 
 which he received, it may be supposed that he was in 
 great measure self-taught. He how^ever retained traces 
 of his early education in art through his whole career. 
 His enthusiasm in the study and delineation gf the horse 
 was probably stimulated by Verocchio, whose masterly 
 treatment of the animal is shown in the CoUeoni eques- 
 trian statue in Venice. 
 
 About 1477, Leonardo left Verocchio and opened an 
 atelier in Florence on his own account, and for a few 
 years employed himself in painting, in making experi- 
 ments, and in perfecting himself in personal accomplish- 
 ments. About 1481, when he was twenty-nine years of 
 age, he left Florence and went to Milan, where he found 
 a patron in Ludovico Sforza. He was occupied for a time 
 in painting portraits of the Duke, and of his beautiful 
 mistresses, as well as various religious pictures. A little 
 later he commenced his great work in sculpture, — the 
 model for the equestrian statue of Francesco Sforza. He 
 was commissioned by Duke Ludovico Sforza to execute 
 this memorial in honor of his father. Leonardo was en- 
 gaged for sixteen years in perfecting his model for the 
 work, which was to be of such colossal proportions as to
 
 1452.] LEONARDO DA VINCI. 113 
 
 require one hundred thousand pounds of bronze for the 
 casting. The affairs of the Duke became greatly embar- 
 rassed, and the bronze ^vas not furnished. 
 
 In 1500, Ludovico was overthrown in battle and made a 
 prisoner by the French ; it has been long believed the sol- 
 diers made a target of Leonardo's noble model, and utterly 
 destroyed it, though lately discovered documents seem to 
 indicate that it existed for a few years longer, though 
 finally destroyed by the wantonness of war. There are 
 old engravings of the work, in which Francesco Sforza 
 holds a general's baton in his hand, and beneath the horse 
 lies a fallen warrior. A small model of the statue ex- 
 ecuted in wax was for some time in existence, but was 
 finally lost. A book of studies of the anatomy of the 
 horse, which the artist had prepared for his own use, also 
 disappeared. 
 
 For this undertaking Leonardo had prepared himself 
 by the most extensive study and practice, particularly in 
 the treatment of the horse. He studied works of ancient 
 art, and ancient writings, and made an endless variety of 
 drawings, many of which are scattered in different collec- 
 tions. In tlie Ambrosian Library in Milan are sketches 
 of the statue, and of a case which the artist designed for 
 transporting it. In the British ^Museum are studies of 
 horsemen and horses. At Windsor are a variety of stud- 
 ies directly relating to the Sforza monument, consisting 
 of complete sketches for the work, and studies of warriors 
 and horses in various attitudes and action. Leonardo's 
 masterly delineation of the horse is well shown in his 
 celebrated cartoon of the Battle of the Standard. Several 
 studies for this cartoon are in existence. 
 
 In Milan, Leonardo became Director of the Academy 
 
 of Painting and Architecture ; and for this position his 
 
 8
 
 114 SCULPTORS OF THE RENAISSANCE. [i452. 
 
 extraordinary combination of talents and his extensive 
 knowledge admirably fitted him. His scientific knowl- 
 edge was the means of great advancement in the art of 
 painting ; and being so well versed in history and poetry, 
 his school became remarkable for its observation and 
 accuracy in regard to details. His instructions in chiaro- 
 oscuro were of great value ; he taught his pupils to " make 
 as cautious a use of light as of a gem, not lavishing it too 
 freely, but reserving it always for the best place." He 
 banished from his Academy the dry Gothic principles 
 established by his predecessor, the Milanese artist, Michi- 
 lino, and introduced the simplicity and purity of the 
 Eoman and Grecian styles. Lanzi declares that " he left a 
 degree of refinement at Milan so productive of illustrious 
 pupils that this period may be reckoned as the most glo- 
 rious era of his life." 
 
 Leonardo executed important and extensive engineer- 
 ing works. He was engaged by the Duke of Milan to 
 conduct the waters of the Adda, from Martesana, through 
 Valtellina and the valley of Chiavenna, to the walls of 
 Milan, — a distance of nearly two hundred miles, — an 
 undertaking which he successfully accomplished. 
 
 After the overthrow of Ludovico Sforza, the Academy 
 at Milan was suppressed, and Leonardo returned to Flo- 
 rence. In 1503 he was appointed architect and chief en- 
 gineer to Cesare Borgia, who commissioned him to inspect 
 the fortresses of his states, and in that capacity he trav- 
 elled and labored for some time. As an architect, he con- 
 structed various edifices, and made designs for others, and 
 w-as the author of various inventions in military architec- 
 ture. In the Ambrosian library at Milan are numerous 
 sketches and plans of great interest, showing devices for 
 machinery, military bridges with explanatory manuscripts,
 
 1452.] LEONARDO DA VINCI. 115 
 
 plans for excavations and embankments, hydrograpliic 
 maps, etc. He was the author of several works upon 
 scientific and artistic subjects, the principal of which 
 is his treatise upon Painting. After his death, his writ- 
 ings and designs were collected into thirteen volumes, 
 and these are dispei"sed in various galleries and collec- 
 tions, the greater portion remaining at Milan. 
 
 The greatest work in painting, of the period of the 
 Renaissance, was the Last Supper, painted by Leonardo 
 for the convent of S. Maria delle Grazie in Milan, now 
 a total wreck. Other pictures by his hand are in exist- 
 ence, and in fair preservation ; but it seems a strange and 
 sad fatality that his most sublime achievement in paint- 
 ing, as in sculpture, should be doomed to such wanton 
 destruction. 
 
 In 1516 Leonardo went to France, by the invitation of 
 Francis L, where, in a chateau near the castle of the king 
 at Amboise, his last days were past. He died in 1519. 
 
 PETER VISCHER. 
 
 PETER VISCHER, an eminent German sculptor and 
 founder, was born in Nuremberg, probably about 
 1460. His father was Hermann Visclier, a bronze-caster, 
 famous in his profession, but far surpassed by his son. 
 The greater i)art of Peter Vischer's life was passed in 
 Nuremberg, where his chief works are to be seen. Aside 
 from his artistic career there are but scanty records of 
 his life. He was earnest and .self-reliant, simple in life, 
 and deeply devoted to his art. In his works are to be 
 found the same characteristics wliich distin<mish those of
 
 116 SCULPTORS OF THE RENAISSANCE. [i46o. 
 
 Lorenzo Ghiberti ; his figures are marked by the same 
 dignity and repose. He was fond of rich ornamentation, 
 "but he did not overload his sculptures, or resort to the 
 trifling and the shallow. 
 
 Vischer's earliest known work is the monument of 
 Archbishop Ernst, in the cathedral of Magdeburg, ex- 
 ecuted about 1495. It is a work of much merit, and is 
 finished with great nicety in its most minute details. 
 It bears a portrait figure of the deceased bishop, and 
 statuettes of the Apostles. The architectural portions are 
 Gothic in style, though softened by the freer decoration of 
 a later period. The heads are varied and expressive, the 
 drapery is simple and arranged in broad masses. The 
 figures are short and lacking in gracefulness, and the 
 hands are not beautiful ; luit the conception and the style 
 of the work as a whole exhibit the artist's sense of 
 beauty, and his endeavors to free himself from the real- 
 ism of the Nuremberg school. The work is inferior to 
 the author's later productions, for his advancement in art 
 was unceasing. 
 
 The principal work of Peter Vischer is the bronze 
 tomb of Sebald, the patron saint of Nuremberg, in the » 
 
 church of St. Sebald, conmienced in 1508, and finished in I 
 
 1519. This celebrated shrine is of an agreeable form, 1 
 
 and is very elaborately and tastefully ornamented. Of 
 this rich and graceful work it has been said, " It has only 
 one counterpart in the entire plastic art of the period, 
 namely, Ghiberti's great bronze gate at Florence." In its 
 execution Vischer was assisted by his five sons. Upon 
 the sides of the structure which supports the sarcophagus 
 are reliefs representing scenes from the life of the saint. 
 One of these finely illustrates the legend of the burning 
 icicles. The saint is said to have lived in a cell not far from
 
 1460.] PETER VISCHER- 117 
 
 the city, going almost daily to teach and niinister to the 
 suftering there, and was in the habit of stopping to rest 
 in the liouse of a poor family. One day he found them 
 without fire, and perishing with cold. He directed them 
 to bring in the icicles which hung from the roof and use 
 them for fuel ; they did so, and were warmed and cheered 
 by the miraculous fire. The figures in the relief express 
 a min«4ed irratitude and astonishment that is naive and 
 lifelike. Another relief illustrates the story of the father 
 of the same poor family, whom St. Sebald had sent to 
 buy fish for a fast day ; the lord of Nuremberg had issued 
 a command that no one should buy fish until the castle 
 had been supplied, and, as this had not been complied 
 with, he ordered that the poor man's eyes should be put 
 out. The bas-relief represents the saint restoring his 
 si"ht. Upon one of the narrow sides of the tomb is a 
 statuette of the saint, with a pilgrim's staff in one hand 
 and a model of the church in the other. Upon the other 
 side is the artist's own portrait, in his workman's dress, — 
 round cap and leather apron. It is a sturdy figure, with 
 a broad German face, and short, thick beard, and holds a 
 "ravin<T tool in each hand. The centre of the shrine is 
 enclosed and surmounted by eight pillars, forming arches 
 above, and crowned by a richly ornamented dome. On a 
 level with the eye of the spectator are statues of the 
 twelve Apostles, eighteen inches in height. The forms 
 are fine and the heads noble, and of distinct individual- 
 ity. Above these are other figures, some of them proph- 
 ets doubtless. Crowning the whole is the figure of the 
 Infant Christ. At tlie base are represented sirens, satyrs, 
 and tritons. The shrine is supported upon the shells of 
 snails. Liibke says : " Never has a work of German 
 sculpture combined the beauty of tlie South with tlie
 
 118 SCULPTORS OF THE RENAISSANCE. [i460. 
 
 deep feeling of the North more richly, more thoughtfully, 
 and more harmoniously." 
 
 Among his later works is a monumental relief in the 
 cathedral at Katisbon. It represents the meeting of 
 Christ with the sisters of Lazarus. The scene is dis- 
 tinctly portrayed, and the figures are invested with a 
 gentle and serious dignity. Martha is approaching the 
 Saviour with loving confidence, and he raises one hand 
 in blessing as he looks down npon her with compassion. 
 
 In depth of feeling this artist is akin to Albert Durer, 
 and like him is loved and reverenced in his native Nu- 
 remberg, to which he bequeathed the best fruits of his 
 genius and toil. In his sense of the beautiful he has 
 never been surpassed by any German artist ; and with 
 the warmth and sincerity peculiar to his nation he has 
 blended something of the outward attraction of form 
 which is characteristic of Italian art. 
 
 Peter Vischer died in 1529. He had five sons, who 
 assisted him in his artistic labors, and the eldest, Her- 
 mann Vischer, became eminent as a sculptor. He died 
 in 1540. JoHANN Vischer also produced works of excel- 
 lence, among which the monument of Bishop Bibra, in 
 the cathedral at Wlirzburg, is notable. 
 
 One of the most important among the pupils of Peter 
 Vischer was Pankraz Labenwolf. He executed the 
 beautiful fountain for the court-yard of the Rathhaus in 
 Nuremberg ; and for the Gansenmarkt, at the back of the 
 Prauenkirche, the much admired fountain-figure of bronze, 
 representing a peasant with a goose under each arm, the 
 water flowing from their mouths. It is called the Gan- 
 senmannchen (Little Goose Man).
 
 1460.] ANDREA SANSOVINO. 119 
 
 ANDREA SANSOVINO. 
 
 AXDEEA SAXSOYIXO, or COXTUCCIO, dal 
 Monte SA^'SOVINO, or, more correctly San Saving, 
 was born at ^lonte San so vino in 1460. He was the son 
 of a peasant, and showed his fondness for imitating the 
 forms of nature by drawing pictures in the sand, and 
 modelling figures in clay, wlieu a child attending his 
 flocks. The governor of the province of Sansovino, Si- 
 mone Vespucci, interested himself in the lad, and, obtain- 
 ing the consent of his father, took him to Florence, where 
 he was instructed in art by the best masters. Yasari says : 
 " Although Andrea di Domenico Contucci of Monte San- 
 sovino M'as born of extremely poor parents, his father 
 being a laborer of the earth, and was himself brought 
 up to guard the flocks, he was nevertheless of so exalted 
 a mind, of intelligence so remarkable, and of so bold a 
 spirit, that, whether in works or discourses relating to 
 the difficulties of architecture and perspective, the period 
 at which he lived could show no genius more truly ele- 
 vated, no mind more subtle, than his own." 
 
 In beauty and purity of style his works are allied to 
 those of Raphael, and the influence of Leonardo da Vinci 
 may be traced in some of his creations. One of his finest 
 productions is the marble group representing the Baptism 
 of Christ, above the eastern door of the Baptistery at 
 Florence. There is a simple grandeur in the treatment 
 of the forms, and the expression is calm and natural. It 
 was left incomplete by Sansovino, and was finished by 
 Vincenzo Danti, an artist of the sixteenth century, who 
 was the author of the group representing the Beheading 
 of St. John, above the southern door of the Baptistery.
 
 120 SCULPTORS OF THE RENAISSANCE. [i460. 
 
 An angel standing at the right of the Saviour in the 
 group by Sansovino was added in the last century. It 
 has been called " a most superfluous angel." 
 
 At Eome, in the early part of the sixteenth century, San- 
 sovino executed several important works. Two marble 
 monuments in S. Maria del Popolo, to the memory of 
 Cardinals Ascanio Maria Sforza and Girolamo Basso. The 
 figures of the two prelates are noble and truthful, and 
 the decorations are of a chaste and beautiful character. 
 M. Wey says of these sculptures : " The arrangement of 
 the compositions, their delicacy which is never dry, their 
 opulence which remains sober, that sumptuosity which re- 
 mains grave and so much grander without emphasis, all 
 contribute to recommend these monuments." 
 
 A very attractive work is in the church of S. Agostino 
 in Eome, — a group representing the Virgin and Child 
 and St. Anna. It is full of life and expression ; the 
 Child is seated upon the lap of his mother, who is gazing 
 •upon him with a look of absorbed affection ; St. Anne sits 
 beside them with one arm around the shoulders of Mary, 
 caressing the Child. Liibke classes this group "among 
 the most splendid inspirations of this grand period." It 
 brings to mind the tender and loving Madonnas and Holy 
 Families of Eaphael. The group is placed against the 
 pillar, upon the upper part of which Eaphael painted in 
 fresco his figure of the prophet Isaiah. 
 
 In the church at Loreto, Sansovino continued the work 
 of rebuilding the Casa Santa which was commenced by 
 Bramante, and adorned it with sculptures in conjunction 
 with other artists. The sculptures of the Casa Santa 
 are reckoned among the highest productions of Christian 
 plastic art, though they are not all of equal merit, and 
 many of them have doubtless been overpraised. The
 
 146a] AKDREA SANSOVINO. 121 
 
 Casa Santa, or Holy House, is reputed to be the original 
 dwelling, or a part of it, in which the Virgin Mary lived 
 in Nazareth, the sacred scene of the Annunciation, and 
 the home of the Saviour with his mother and Joseph. 
 According to the legend it was miraculously translated, in 
 1291, to Fiuine, in Dalmatia, and thence three years after 
 to Eecanati, whence it was transferred to its present site. 
 It was originally of rude material and construction, but 
 has been transformed into a marvel of magnificence. It 
 is entirely encased in white marble, elaborately decorated 
 with sculptures. Among these are a great number of 
 statues representing prophets and sibyls, most of which 
 were probably designed by Sansovino, though executed 
 by other artists in the master's style. The prophet Jere- 
 miah is said to be the work of his own hand. The bas- 
 reliefs illustrate scenes from the life of the Virgin, and 
 the legend of the Casa Santa. Some of these were doubt- 
 less executed by other artists. The Annunciation and 
 the Birth of Christ are supposed to be by the master's 
 hand, and are of extraordinary excellence. 
 
 Among the architectural works of Andrea Sansovino 
 is the Corinthian vestibule which connects the Sacristy 
 with the clmrch of S. Spirito in Florence ; the reliefs 
 which ornament it are among his early works in sculp- 
 ture. He also executed works in both architecture and 
 sculpture in Portugal, where lie spent nine years in the 
 service of the king. 
 
 Among the most noted followers of Sansovino are 
 NICCOLO Pericoli (surnamed Tribolo), of Florence, and 
 Francesco da Sangallo, both of whom took part in the 
 sculptures of the Casa Santa. Andrea Sansovino died in 
 1529, greatly lamented, not only by his family, who were 
 fondly attached to him, but by liis countrymen, who held
 
 122 SCULPTORS OF THE RENAISSANCE. [i460. 
 
 him in high esteem. He was small in stature, though 
 well proportioned ; his complexion was fair, his hair long 
 and soft ; and though he had a slight impediment in his 
 speech, when he discoursed, he spoke " well, and to good 
 purpose." 
 
 PIETRO TORRIGIANO. 
 
 PIETEO TOEEIGIANO was born at Florence about 
 1472. In his vouth he studied in the gardens of 
 Lorenzo de' Medici in Florence, in company with many 
 other pupils, who afterwards became distinguished in 
 sculpture. Torrigiano was possessed of much talent, 
 and became a skilful artist, but he was of a jealous and 
 quarrelsome temper. Vasari says : " He could never en- 
 dure that any other should surpass himself, and often set 
 himself to spoil with his hands such of the work of his 
 fellow-students as he perceived to display a degree of 
 excellence to which he could not attain, when, if those 
 whom he thus attacked resented the injury, he would 
 often assail them further, and that with something harder 
 than words." Cellini describes him as a man of "a mag- 
 nificent figure, and of a most audacious deportment." 
 Michael Angelo, who was a fellow-pupil with Torrigiano, 
 became the victim of his jealous rage and ungoverned 
 passion, and for this personal outrage Torrigiano was 
 obliged to flee from Florence. He repaired to Eome, 
 where he was employed for a time in the decorations of 
 the Vatican ; but, following his restless inclinations, he 
 soon abandoned sculpture and enlisted as a soldier. Not 
 gaining the distinction which his ambition demanded, he 
 returned to his artistic pursuits, executing several small
 
 1472.] PIETRO TORRIGUNO. 123 
 
 works which were purchased by Florentines. He after- 
 wards proceeded to Enghind, where he was favored by the 
 king, Henry VIII., and was employed in a variety of 
 works in sculpture. Among them is the tomb of Henry 
 YII., and his queen, Elizabeth of York, in the chapel of 
 Henry VII. in AVestminster Abbey, finished in 1519, 
 Lord Bacon called this " one of the statehest and daintiest 
 tombs in Europe." It is in the style of a detached struc- 
 ture, with arcades of black marble, and is richly adorned 
 with statues and reliefs. The figures of the king and 
 queen, in gilt bronze, are simple and noble, and of fine 
 finish. The altar tomb of Margaret of Ilichmond, mother 
 of Henry VII., in the south aisle of the same chapel, is 
 supposed to be the work of Torrigiano. He was com- 
 missioned to execute a monument for Henry VIII., but 
 he soon after left England and went to Spain. There 
 he executed various religious works which were highly 
 prized ; among them a Virgin and Child, which was so 
 beautiful that the Duke of Arcos desired a repetition, 
 for which he promised a liberal compensation. Torrigiano 
 completed the work, and the Duke sent in payment a 
 large quantity of coins of very small value, which so ex- 
 asperated the fierce-tempered artist that he seized a 
 mallet and shivered the group to pieces. It is said that 
 fragments of the unfortunate group of the Madonna and 
 Child are preserved in Seville with gi'eat care, among 
 them a most perfect hand. 
 
 Torrigiano was accused of lieresy, and condemned to 
 death by the Inquisition, which sentence he only escaped 
 by starving himself to death. Thus, in 1522, terminated 
 the stormy life of this brilliant artLst.
 
 124 SCULPTORS OF THE RENAISSANCE. [1475. 
 
 MICHAEL ANGELO BUONAROTTI. 
 
 MICHAEL ANGELO BUONAEOTTI, written also 
 MiCHELAGNOLO BuoNAKKOTi, was born on the 6th 
 of March, 1475, or, according to the Florentines, who 
 dated the beginning of the year from March 26th, in 
 1474. His birth occurred on Sunday, and, as we are in- 
 formed by tradition, "under a fated and happy star." 
 He was christened Michelagnolo according to an inspira- 
 tion of his father, who was impressed with the feeling 
 that something more celestial pertained to him than to 
 ordinary humanity. Unquestioning faith in the " happy 
 star " must have been wanting, however, for we are told 
 that, as the boy grew older, and exhibited an unconquer- 
 able love for drawing, he was beaten for indulging it. 
 
 Lodovico Buonarotti, the father of Michael Angelo, was 
 Podesta or Mayor of Chiusi, the ancient Clusium Novum, 
 and of Caprese, a small town in the valley of the Singerna, 
 in the vicinity, and in the latter place Michael Angelo 
 was born. When Lodovico's term of office expired, he 
 removed with his family to Settignano, near Florence, to 
 a farm which he had inherited from his ancestors. The 
 place abounded in stone quarries, which were worked by 
 the natives, and Michael Angelo, who was still an infant, 
 was placed with the wife of ,a stone-cutter to be nursed. 
 Giorgio Vasari, of Arezzo, a friend and pupil of Michael 
 Angelo, relates that the sculptor once said, jestingly, to 
 him, " Giorgio, if I have anything good in me, that comes 
 from my birth in the pure air of your country of Arezzo, 
 and perhaps also from the fact that with the milk of my 
 nurse I sucked in the chisels and hammers wherewith I 
 make my figures."
 
 1475.] MICII.\EL ANGELO BUONAROTTI. 125 
 
 When a lad twelve or fourteen years of age he formed 
 a friendship with Francesco Granacci, who was somewhat 
 younger, and a pupil of Domenico Ghirlandajo, then one 
 of the leading artists of Italy. Granacci supplied his 
 young friend with his master's drawings, thus stimulating 
 his love for art, and sowing the seeds of which he reaped 
 the harvest later in the salutary iuHuence ^vhich the 
 more powerful genius of Michael Angelo exerted upon 
 his own style. * 
 
 At the age of fourteen IMichael Angelo was placed 
 with Domenico Ghirlandajo as a pupil, — though against 
 the wishes of his father, — under the following terms of 
 apprenticeship (written by the hand of Lodovico in one 
 of Domenico's books) : — " 1488. I acknowledge and re- 
 cord, this first day of April, that I, Lodovico di Lionardo 
 di Buonarroti, have engaged Michelagnolo my son to 
 Domenico and David di Tommaso di Currado, for the 
 three years next to come, under the following conditions : 
 That the said IMichelagnolo shall remain with the above- 
 named during all the said time, to the end that they may 
 teach him to paint and to exercise their vocation, and 
 that the above-named shall have full command over him, 
 paying him in the course of these three years twenty-four 
 florins, as wages, in the first six namely, in the second 
 eight, and in the third ten, being in all ninety-six lire. 
 The above-named Michelagnolo has received two florins 
 in gold tliis sixteenth day of April, I, his father, Lodovico 
 di Lionardo, having received twelve lire and twelve soldi 
 on liis account." 
 
 In the school of Ghirlandajo the youth soon gave proof 
 of liis extraordinary ability, surpassing his fellow-pu- 
 pils and astonisliing his master. He remained for three 
 years in this atelier, and though various stories of his life
 
 126 SCULPTORS OF THE RENAISSANCE. [1475. 
 
 there are told, probably but few facts are known. The 
 third year of his apprenticeship opened to him a some- 
 what wider field for improvement. Loronzo de' Medici, 
 the accomplished and art-loving prince, possessed among 
 his collection in the garden of S. Marco many valuable 
 remains of antique art, and, wishing to promote the pro- 
 gress of art in Italy, he requested Ghirlandajo to send 
 such pupils as desired a knowledge of sculpture to his 
 collection for study, promising to provide for them while 
 thus devoting themselves. Michael Angelo and his friend 
 Francesco Granacci were selected for this privilege, and 
 together pursued their studies in the gardens of S. Marco. 
 It was there that Michael Angelo made his first attempt 
 in marble, executing a copy of the head of an old Faun. 
 In this he departed somewhat from the original, and prob- 
 ably supplied, according to his own fancy, what happened 
 to be wanting, as the work was much injured. Having 
 supplied the mouth with a full set of teeth, Lorenzo 
 took occasion to criticise it in a jesting way, saying to 
 the young sculptor, " Thou shouldst have remembered 
 that old folks never retain all their teeth, some of them 
 are always wanting." Believing that the criticism was 
 offered in earnest, and wishing much to please his bene- 
 factor, as soon he had departed Michael Angelo proceed- 
 ed to break out a tooth, and give the mouth the requisite 
 look of old age. This highly amused the prince, so skil- 
 fully was it done, and increased his admiration for the 
 boy's talent. So interested did he at length become, that 
 he sent for Lodovico and asked to have the young sculp- 
 tor intrusted to his immediate care. With his father's 
 consent he was received into the palace, where he re- 
 mained until the death of Lorenzo, in 1492. It was in 
 the gardens of S. Marco that Michael Angelo first began
 
 1476.] mCHAEL ANGELO BUONAROTTI. 127 
 
 to worship the art of sculpture, "which became, and ever 
 remained, his favorite. Among his early works in marble 
 is a fine bas-relief, representing the battle of Hercules 
 with the Centaurs, now in the Casa Buonarroti in Flo- 
 rence. 
 
 Among other means of improvement, ^Michael Augelo 
 spent months in copying the grand frescos of Masaccio 
 in the chapel of the Carmine. Thus, every opportunity 
 within his reach was appropriated by the aspiring pupil. 
 His progress awakened not only the admiration of his 
 friends, but the envy and bitterness of rivals. He was 
 not of a conciliatory disposition, or likely to be patient 
 under insults ; and when his fellow-student and rival, 
 the quarrelsome Torrigiauo, jeered at him, he replied by 
 a stinging sarcasm. The ruffianly retaliation for this was 
 a blow in the face which crushed Michael Angelo's nose, 
 somewhat to his disfigurement for life. 
 
 The death of Lorenzo de' Medici deprived the young 
 artist of a powerful and generous patron ; and though 
 he was treated with liberality by the weak-minded son, 
 Piero, he withdrew from Florence and went to Bologna 
 and to Venice, spending about a year in the former city. 
 While there he executed one of his most pleasing works, 
 the Angel with the Candelabrum, in the church of S. 
 Domenico. It is a kneeling figure, of a childlike beauty, 
 which is very unlike the characteristics of his later pro- 
 ductions. 'Dr. Liibke says, " It is, perhaps, the most 
 plea.sing work which he ever produced, — the effusion of 
 an imaginative youthful mind, scarcely yet come into 
 contact with the rude reality of life." 
 
 After this sojourn in liologna, Michael returned to 
 Florence, where he labored ;it his art for a short time, 
 but was soon invited to Home. He remained there only
 
 128 SCULPTORS OF THE RENAISSANCE. [1475. 
 
 one year; but several commissions were given him for 
 works which are still in existence. Among these is the 
 Kneeling Cupid, so called, now in the South Kensington 
 Museum in London. It has been injured and restored to 
 some extent. A more celebrated work of about the same 
 date is the Drunken Bacchus, in the Uflfizi gallery in 
 Florence. This is a very highly finished statue, and is 
 admired for the wonderful skill with which the effects of 
 intoxication are indicated, in the dreamy expression and 
 unsteady attitude of the slender, delicate figure. 
 
 Another work of this period is in marked contrast with 
 the two last named, — one which for purity of feeling and 
 spirituality of conception must be placed among Michael 
 Angelo's masterpieces, — the Piet^, executed also during 
 his residence in Eome, for the French Cardinal of St. 
 Denis. The body of Christ is sculptured with great per- 
 fection, and is of the most refined and delicate beauty, 
 while the face and attitude of the Madonna express the 
 very sublimity of sorrow and resignation. It is in the 
 Cappella della Pieta, in St. Peter's, — the first chapel in 
 the south aisle. The simple beauty and solemnity of the 
 group are marred by the addition of two bronze angels 
 above, holding a crown over the head of the Madonna. 
 
 The Madonna and Child, in the cathedral of Bruges, 
 called the Madonna of Bruges, — a group of similar 
 touching character, — is attributed to Michael Angelo, and 
 probably with justice, at least as regards the design. It 
 represents the Madonna, nearly life-size, seated with the 
 Child in her lap, partly supported by the folds of her 
 drapery. She is clasping him with one hand, and the 
 other rests almost listlessly on her knee. A book lies 
 beneath her hand, and her thoughts are evidently of the 
 darkly shadowed future, while the lovely face of the Child
 
 1475.] MICHAEL ANGELO BUONAROTTl. 129 
 
 seems to reflect, in a childish way, the deep sadness of 
 the mother's aspect. 
 
 "NYhen Michael Angelo returned to Florence, he found 
 another patron in Pietro Soderini, who had been elected 
 Gonfalouiere in ir>(i2. By this ruler he was employed 
 both in sculpture and in painting. Among his works in 
 sculpture of this period was the colossal David, which 
 occupied him for a year and a half, and \vas finished in 
 1504. A statue had been commenced upon tlie block of 
 marble from which the David was carved, by another 
 sculptor, and Michael Angelo was obliged to accommo- 
 date himself to the existing shape of tlie marble ; but so 
 masterly was the achievement that the spectator can only 
 believe that the figure which he contemplates was the 
 sculptor's highest ideal of the shepherd conqueror. The 
 statue was placed in front of the Palazzo Vecchio, — a 
 position which was chosen by Michael Angelo himself at 
 a council of contemporary artists, — where it remained 
 exposed to the perils of accident and the injurious effects 
 of the weather, till 18G2, when a wooden shelter was pro- 
 vided for it. It has now been removed to the Academy 
 of Fine Arts, and placed in a structure erected for its 
 reception. 
 
 Xot long after the accession of Julius 11. to the papal 
 throne, Michael Angelo was invited to Iforae. The Pope 
 attracted him by such generous offers that he was induced 
 to accept tlie invitation, to the great regret of his friends 
 at Florence, and to the neglect of various commissions 
 which he had received there. 
 
 The first work of importance upon which he was 
 engaged in Rome was the magnificent design for the 
 mausoleum of Pope Julius, — a work which was destined 
 to occupy the artist at intervals to his old age. The cum- 
 

 
 130 SCULPTORS OE THE RENAISSANCE. [ms. 
 
 brous architecture of this design had not much attractive- 
 ness in itself, and was evidently intended to serve only 
 as a frame- work for the magnificent sculptures which 
 were to adorn it. The task confided to Michael Angelo 
 was one worthy of his powers, and happily in accord 
 with his tastes. While he was despatched to Carrara to 
 superintend the quarrying and transporting of the marble 
 required for the monument, Julius decided that the re- 
 building of the Basilica of St. Peter would be the only 
 plan for providing a fitting site for so grand a work. 
 Though finally constructed upon a much diminished scale 
 in S. Pietro in Vincoli, some of the main features of the 
 original design for the structure were preserved. 
 
 The work was begun auspiciously, but soon began to 
 suffer long delays. The interest of the Pope in its speedy 
 completion subsided, and Michael Angelo was employed 
 in various other important undertakings, both in sculpture 
 and in painting, and he suffered much from the arbitrary 
 disposition of his patron. Impatient and fiery himself, 
 he was unable to endure the discord, and once left Eome 
 and returned to Florence; it was only after repeated 
 efforts that he was prevailed upon to return. Pope Julius 
 had just expelled the usurping Bentivogli from Bologna, 
 and one of the first commissions given to the sculptor on 
 his return was a bronze portrait statue of his Holiness to 
 be set up in Bologna. This was erected in 1508 ; it was 
 of colossal size, the right hand raised, the left holding 
 a sword and keys. The Pope, on looking at the model, 
 whose grandly stern aspect can be imagined, had inquired 
 whether he was supposed to be blessing or cursing his 
 people. " Admonishing them to behave themselves dis- 
 creetly," was the reply. Before completing the design, the 
 sculptor had asked if a book should be placed in the left
 
 1475.] MICHAEL AXGELO BUONAROTTI. 131 
 
 hand ; and Julius had rephed, " Put a sword into it, — I 
 know little of letters." The statue was placed over the 
 portal of S. Petronio, but three years after it was de- 
 stroyed by the people, and the bronze was sold to Duke 
 Alfonso of Ferrara, wlio cast from it a cannon called the 
 "Julian." The head was preserved, but, unhappily, is 
 now lost. 
 
 Pope Juhus died in 1513, leaving to his executors the 
 care of constructing his monument upon a simpler plan 
 than the one at first designed. A second contract was 
 made between Michael An<2,elo and the executors, accord- 
 ing to the modified design, but the work was again re- 
 peatedly interrupted, and was only completed in 1545, 
 when, in its present dwarfed form, it was erected in S. 
 Pietro in Yincoli. As a whole, it is a very unsatisfactory 
 work, and some of the details are poor and insignificant. 
 Its chief glory, the figure of Moses, which was executed 
 in the maturity of the artist's powers, is regarded as the 
 most sublime production of modern sculpture. This mas- 
 sive form, seated upon a fragment of stone, might, at first 
 sight, suggest the idea of repose ; but as we look, the fig- 
 ure from head to foot becomes alive with the expression of 
 spiritual activity, which is almost fierce in its intensity. 
 The great leader, ordained of God to promulgate His 
 law, has just descended from the mount which burned 
 with the Awful Presence, and the apostasy of his people 
 reveals itself to his astonished gaze. Tlie glance of the 
 eye, the expanding nostril, the contracting muscles of 
 the forehead, portend the storm of indignation which is 
 about to burst upon the idolatrous Israelites. He seems 
 about to speak in a voice that shall echo the thunders of 
 Sinai. This statue was intended for a niche in one of tlie 
 four facades of the mausoleum. As it was originally
 
 132 SCULPTORS OP THE RENAISSANCE. [1475. 
 
 placed in S. Pietro in Vincoli, it was partly concealed in 
 a niche ; but a few years since, under the direction of 
 Canova, it was moved forward, and placed upon a higher 
 pedestal. 
 
 Upon the sarcophagus above is a figure of Pope Julius, 
 lying in an uneasy attitude, — the work of Maso del 
 Bosco. A statue of the Madonna, a prophet, and a sibyl, 
 and two female figures called Active and Contemplative 
 Life, — the two last by Michael Angelo, — with several 
 busts, adorn the sepulchre. This work, in " the poverty 
 of its accomplishment " compared with the magnificence 
 of its original design, is a sad memorial of the toil and 
 warfare through which Michael Angelo pursued his favor- 
 ite art, and of the disappointments which he experienced 
 in such uncommon measure. But, as has been said, the 
 statue of Moses is alone sufficient to render the monu- 
 ment glorious ; and of the whole group, the spectator only 
 recalls this figure, guarding in solitary majesty that tomb 
 of the Pope whose ashes repose elsewhere. 
 
 Two noble figures, executed probably about 1505, called 
 the Slaves, or Captives, were originally intended for the. 
 tomb of Julius II., and, according to Vasari, represented 
 the provinces subjugated by that Pope, and brought un- 
 der obedience to the Apostolic Church. When the plan 
 which ' included these figures was abandoned, Michael 
 Angelo presented them to Signor Eoberto Strozzi, who 
 had nursed him during an illness, it is said, and they 
 were afterwards sold to King Francis I. After various 
 changes they were purchased for the Louvre. These fig- 
 ures are grand and full of meaning; one is marked by 
 the expression of mental suffering endured with resigna' 
 tion, while the other appears to submit to his humiliation 
 with a gloomy defiance. Pine casts of these figures are
 
 1475.] MICHAEL ANGELO BUONAROTTI. 133 
 
 in the Hall of the Eenaissance, in the Corcoran Gallery 
 at Washington ; casts of them are also to be seen in 
 other art collections in this country. 
 
 Among the most noteworthy of ^lichael Angelo's minor 
 works is a statue of Christ, belonging to his earlier Eoman 
 period ; it was not quite completed by his own hand, but 
 was finished by a Florentine sculptor, Federigo Frizzi, and 
 placed in S. ^laria sopra Minerva. It is a nude figure, 
 turning slightly to the left, holding a cross at his right 
 side. Widely differing opinions have been expressed 
 with regard to this work; probably the dissatisfaction 
 which is so common arises in great part from its unlike- 
 ness to the traditional type of form and features which 
 Christian art has given to representations of the Saviour. 
 Charles Heath Wilson, author of " ]\Iichael Angelo and 
 his Works" (London, 1876), says: " This statue, considered 
 as a work of expression and of religious art, is in both 
 
 respects without a parallel in its irreverence If it 
 
 can be forgotten whom the statue represents, its value as 
 a work of art may then be fully estimated. It is a noble 
 embodiment of beauty and manly grace. As a St. Sebas- 
 tian, with the exception of its utter nudity, it would have 
 been perfect. A noble figure of early manhood with a 
 look of glowing triumph on the face, it might have 
 been brought within the pale of Christian art, as that 
 saint, or some other youthful martyr. But considered as 
 a statue of the Saviour, with all his sacred associations, 
 its excellence as a work of art is forgotten in the surprise 
 and pain with which it is necessarily looked on by every 
 reverent mind." 
 
 Charles Christopher Black, author of the " Life and 
 Labors of Michael Angelo Buonarotti" (London, 1875), 
 says: "The figure, which is uudra])ed, stands in an at-
 
 134 SCULPTORS OF THE RENAISSANCE. [1475. 
 
 titude of much dignity, holding in his arms a massive 
 cross, somewhat raised from the ground. No particular 
 event in the history of our Lord is sought to be repre- 
 sented ; we have simply Him who died to save mankind, 
 holding up, it may be as a warning against forgetfulness, 
 the instrument of the sufferings by which our salvation 
 was assured. This single and grand idea is to our minds 
 magnificently rendered. The features may not be of the 
 usual type sanctified by tradition, — when was Michael 
 Angelo other than original ? — but they are fully equal 
 to any other representation of an unapproachable perfec- 
 tion," The statue is in front of the high altar of S. Maria 
 sopra Minerva, and recent restorations of the church have 
 consigned it to darkness almost. The effect is marred 
 by the addition of bronze drapery about the middle of 
 the figure, and the right foot is covered with brass on 
 account of injuries from the ardent devotions of the 
 crowds of pilgrims who visit it. 
 
 Leo X., the successor of Julius II., was a native of 
 Florence, and he was desirous that the talents of his 
 gifted fellow-citizen should be employed upon some me- 
 morial of himself, in his native city ; the work of con- 
 structing the facade of S. Lorenzo was therefore intrusted 
 to Michael Angelo. He prepared the design, and erected 
 the inner facade. He also built the new sacristy of S. 
 Lorenzo, the crypt of which contains his famous tombs 
 of the Medici. Upon these he was occupied, with many 
 interruptions, from about 1521 until 1534, and they were 
 finally left incomplete in some parts. The sculptor was 
 obliged to submit to the most trying dictation, and to 
 tedious delays in his work, — at times forced to leave his 
 professional pursuits and engage in the work of quarrying 
 marble, and in other unworthy tasks. The chapel con-
 
 1475] :michael ANGELO BUONAROTTI. 135 
 
 taining the mausoleums is quadrangular, and entered from 
 the south transept of the church. Upon the right is 
 the tomb of Giuliauo de' Medici, Duke of Nemours, the 
 younger son of Lorenzo the ^laguificent ; opposite is that 
 of Lorenzo de' Medici, Duke of Urbino, grandson of Lo- 
 renzo the Magnificent. lu these master- works there is 
 nothing conventional; they are conceived and executed 
 ■svith the utmost freedom, and with the marked originality 
 of Michael Angelo's genius. The sculptures seem quite 
 independent of their architectural framework, and there 
 is much valueless criticism expended upon the unfitness 
 of the structures for the statues which they support. 
 
 There is nothing in the history of Lorenzo and Giuliano 
 de' Medici that gives any clew to the meaning with which 
 the two statues are invested, and it is evident that no 
 real personages occupied the mind of the artist when he 
 conceived these sublime figures. The statue which sur- 
 mounts the tomb of Lorenzo has been named II Pensiero, 
 and it was indeed a thought wdiich Michael Angelo 
 evoked from the formless stone. The sombre figure ex- 
 presses in its attitude and air a silence so deep as to be 
 awful ; and yet it gives not the faintest hint of mental 
 rest or peace. The peculiar helmet which sh.adows the 
 face adds to the solemn and mysterious air of the figure. 
 Below, upon the sides of the sloping lids of the sarcopha- 
 gus, two giant figures, called Dawn and Evening, are 
 reclining. 
 
 Tlie fifjure above the tomb of Giuliano is in marked 
 contrast with the other, but is of an equally ideal character. 
 Upon the sarcophagus are also two figures, called Pay 
 and Night; the latter, a female figure, representing most 
 louchingly the dee]) .sleep of exhau.stion and forgetfulness. 
 The gloomy accessories are a tragic mask, — the owl.
 
 136 SCULPTORS OF THE RENAISSANCE. [1475. 
 
 the poppy. The companion figure is one of incarnate 
 strength, — a giant rousing from his slumbers. It is not 
 unlikely that the grief and gloom of the artist at the loss 
 of freedom for his beloved Florence found utterance in 
 these sculptures. "Few can contemplate the four mighty 
 statues which adorn these two sarcophagi, without an in- 
 nate consciousness that they are gazing upon the products 
 of loftiest thought and that to a proper comprehension 
 of their greatness a preliminary feeling of reverence is 
 essential. The critics who complain of the immeasurable 
 strength in the figure of Day, who find the awful figure 
 of Night overwrought and unfeminine, and proclaim as 
 a great discovery, that the whole series are far too heavy 
 for the coffers to which they are affixed, need not be 
 reasoned with, but passed over. They belong to the class 
 who doubt whether Ajax could really lift a stone tasking 
 the powers of ten degenerate men of modern days, or 
 carefully calculate the latitude and longitude of Prospero's 
 enchanted island." * 
 
 For the same chapel of S. Lorenzo, Michael Angelo 
 designed a group of the Madonna and Child ; the execu- 
 tion is said to be by his pupils ; the work is unfinished. 
 
 In the cathedral of Florence, behind the high altar, is 
 an unfinished group representing the Dead Christ, the 
 two Marys, and Joseph of Arimathea, executed from a 
 single block of marble. The fact that it is unfinished is 
 not in this case due to the interference of others, but to a 
 flaw in the marble. It is a work of his old age, under- 
 taken, according to Yasari, for the reason that " the use 
 of the hammer kept him in health." For many years it 
 remained in the sculpture-room of the chapel of S. Lo- 
 renzo, but in 1722 it was placed behind the high altar of 
 the cathedral. 
 
 * Charles Christopher Black.
 
 1475] MICHAEL AXGELO BUOXAROTTI. 13Y 
 
 In the Uffizi Gallery are several imfinislied works in 
 marble, and some small sculptures by the master are pre- 
 served in the Casa lUionarroti. 
 
 ^lichael Angelo was very eminent as an architect, and 
 designed various churches, pahices, and other edifices. 
 He was for many years the architect of St. Peter's, and to 
 his ireuius its maj?niticent dome is due. The Laurentian 
 Library in Florence is regarded as a fine example of his 
 architectural skill. He also executed at diflerent periods 
 important engineering works. During the existence of 
 the Eepublic of Florence, he was employed in rebuilding 
 the fortifications of the city. Yeiy interesting drawings 
 relating to his labors in this department are to be seen 
 in the Casa Buonarroti. 
 
 It would be impossible to give an account of the works 
 of Michael Angelo, in either sculpture or painting, in 
 chronological order, in consequence of the interruptions 
 and delays with which he had to contend, from first to 
 last. The disappointments and vexations which beset 
 him in his career as an artist were supplemented by the 
 harassing importunities of thriftless and selfish relatives. 
 Naturally of a proud and impetuous temper, he was pecu- 
 liarly susceptible to the irritation of unreasonable demands 
 and weak interference, and he sometimes exhibited the 
 most violent anger, in which he did not spare even the 
 unoffending; but in the records of his private life, and in 
 hi.s letters and other writings, the noble and gentle traits 
 of character by far preponderate. An anecdote is related 
 by Armenini, — an artist who was contemporary with Mi- 
 chael An<'elo, and author of Vr.ri Prccrtti ddla riUunc, — 
 which illustrates liis gratitude and kindness of heart, as 
 well as his marvellous power of conception and execution. 
 "Meeting one day, behind S. I'ietro, with a young Ferra-
 
 138 SCULPTORS OF THE EENAISSANCE. [1475. 
 
 rese, a potter who had baked some model of his, M. Angelo 
 thanked him for his care, and in return offered him any 
 service in his power. The young man, emboldened by his 
 condescension, fetched a sheet of paper and requested 
 him to draw the figure of a standing Hercules. M. An- 
 gelo took the paper, and, retiring to a small shed near by, 
 put his right foot on a bench, and, with his elbow on the 
 raised knee, and his face on his hand, stood meditating 
 a little while, then began to draw the figure, and, having 
 finished it in a short time, beckoned to the youth, who 
 stood waiting at a small distance, to approach, gave it to 
 him, and went away toward Belvedere. That design, as 
 far as I was then able to judge, in precision of outline, 
 shadow, and finish, no miniature could excel : it afforded 
 matter of astonishment to see accomplished in a few min- 
 utes what might have been reasonably supposed to have 
 taken up the labor of a month." 
 
 Probably the brightest period in the life of Michael 
 Angelo was that in which he enjoyed the friendship of 
 Yittoria Colonna. She was one of the most beautiful 
 and talented women of the brilliant age in which she 
 lived, and she was not less distinguished for her virtues. 
 She was the daughter of Fabrizio Colonna, Grand Consta- 
 ble of Naples, and was born in 1490. When four years 
 old she was betrothed to Ferdinando d' Avalos, Marquis 
 of Pescara, of the same age, to whom she was married at 
 the age of seventeen. Her husband became a celebrated 
 general, and died in 1525 from wounds received at the 
 battle of Pavia. Vittoria was childless, and after her 
 husband's death she sought consolation in retirement, and 
 in the cultivation of her poetic talent. In 1536 she re- 
 moved from Naples and took up her residence in Eome, 
 where her acquaintance with Michael Angelo began, and
 
 1475.] micelu:l angelo buonarotti. 139 
 
 rapidly ripened into the most intimate and enduring 
 friendship. The sculptor, already more than sixty years 
 old, cannot be regarded as the lover of this widow of 
 forty-six, who was devoted to the memory of her husband ; 
 but their attraction was certainly mutual, and the delight 
 that each found in the society of the other arose, not only 
 from the congeniality of their minds, but from a deep and 
 pure affection. The gi'ave, stern nature of the sculptor 
 found in the companionship and affection of this woman 
 its complement and its embellishment. For a few years 
 her society and correspondence brightened his sombre 
 life, and her death, in 1547, caused him the deepest 
 sorrow he had ever known. 
 
 Michael Augelo was a dutiful and affectionate son and 
 brother, though often sorely tried by the selfish exactions 
 of his family ; and to his home in Florence he was most 
 strongly attached. He wrote to his brother Buonarroto, 
 from Bologna, where he was engaged for many months 
 upon the bronze statue of Pope Julius : " I remain here 
 with the greatest inconvenience and extreme fatigue, and 
 I think of nothing but my work day and night, and I 
 have suffered so much labor and fatigue that, had I to 
 make another, I do not think my life would last me, for 
 it has been an immense undertaking, which, if given into 
 the hands of another, he would have succeeded but badly 
 in. But I consider that the prayers of some person have 
 helped me, and kei)t my judgment sound, for it was 
 against the opinion of the wliole of Bologna that I could 
 ever have conducted the work. After the casting, and 
 even before, there was no one wlio believed me capable 
 of ever casting it. It is enough for me that I have con- 
 ducted my work to a good end, but I shall not have en- 
 tirely finished it this month as I had thought, but in the
 
 140 SCULPTORS OF THE RENAISSANCE. [i475. 
 
 next it will certainly be finished and I shall return." 
 Again he writes : " I live in great anxiety and extreme 
 bodily fatigue ; I have no friends of any sort, and wish 
 for none." 
 
 To his father he wrote from Eome : — 
 
 " Deakest Father, — I have had a letter from you to- 
 day, September the 5th, which gave and still gives me 
 great anxiety, as it tells me that Buonarroto is ill. I beg 
 of you, as soon as you have read this, to let me know how 
 he is, because, if he is really very ill, I will come by the 
 post to you during the ensuing week, although this would 
 be the greatest hindrance to me, — for this reason, that 
 I am to be paid five hundred ducats when I have earned 
 them ; this is the agreement I have made with the Pope, 
 and as many more he will give me when I have begun 
 another part of my work. But he has gone from here, 
 leaving me no orders whatever, so that I find myself 
 without money, nor do I know what to do if I go away. 
 I should not like him to despise me and lose me my earn- 
 ings, in which case I should be badly off. 1 have written 
 him a letter, and am waiting the answer. Yet if Buo- 
 narroto be in danger let me know of it, because I shall 
 leave everything. Make arrangements for his comfort, 
 and do not let him want for money to help him. 
 
 " Your MiCHELAGNiOLO, Sculptor in Borne.'' 
 
 In another letter to his father he writes : " There are 
 certain ducats in small coin, which I wrote to you about, 
 that you should claim them. If you have not taken 
 them, ask for them at your leisure, and if you have need 
 of more, take just what you may require, for as much as 
 you want so much will I give you, even should you spend 
 all. And if it be necessary that I should write to the
 
 1475] MICH.VEL AXGELO BUONAROTTI. 141 
 
 governor of the hospital let me know. I liave heard from 
 your last how aflairs are going on. I am anxious about 
 them. I cannot help you in any other way, but do not, 
 on this account, alarm yourself, and do not give your- 
 self an ounce of melancholy. Because, if goods are lost, 
 life is not lost. I will do so much for you that it will be 
 more than what you may now lose. But do not look for- 
 ward to it too much, as it may fail. Nevertheless, do 
 your best, and thank God that as this sorrow had to come, 
 it came in a time when you were better able to help 
 yourself than in times past. Think only of your life, 
 and sooner let the things go than suffer inconvenience, 
 for it is more precious to me to have you alive and poor 
 than all the gold of the world if you were dead." 
 
 Among his letters written in old age is the following to 
 his friend Giorgio Yasari, in reply to the announcement 
 that a son had been born to his nephew Leonardo, and 
 christened Buonarroto. " ]\Iy dear friend Giorgio, — I 
 have felt much pleasure in reading your last, seeing that 
 you still remember the poor old man, and also because 
 you were present at the triumph of which you write, and 
 have seen the birth of another Buonarroto. For this in- 
 telligence I thank you as much as I can or may, although 
 I am disjdcased by so much pomp, seeing that no man 
 should laugh when the whole world is in tears. I think, 
 too, tliat Leonardo should not rejoice so much over the 
 birth of one who is but beginning to live ; such joy 
 should be reserved for the death of one who has lived 
 well." 
 
 lu 1.">5G, the faitliful Urbino, wlio liad been for many 
 years tlie servant and companion of the lonely old man, 
 was taken away from him by dcatli, and he wrote to 
 Vasari : " I liave had him twenty-six years, have ever
 
 142 SCULPTORS OF THE RENAISSANCE. [1475. 
 
 found him singularly faithful, and now that I had made 
 him rich, and hoped to have in him the staff and support 
 of my old age, he has disappeared from my sight ; nor have 
 I "now left any other hope than that of rejoining him in 
 Paradise. But of this God has given me a foretaste, in 
 the most blessed death that he has died ; his own de- 
 parture did not grieve him, as did the leaving me in this 
 treacherous world, with so many troubles. Truly is the 
 best part of my being gone with him, nor is anything 
 now left me except an infinite sorrow." 
 
 After the death of this faithful servant and friend, the 
 old master sought rest and consolation in a sojourn 
 among the mountains of Spoleto, where he enjoyed the 
 tranquil society of the hermits, finding the peace and re- 
 pose which he could find nowhere but in the solitudes of 
 nature. He wrote : " I have in these last days under- 
 taken a visit in the mountains of Spoleto, to the hermits 
 abiding there, at great cost of labor and money, but also 
 to my great pleasure, insomuch that I have returned to 
 Eome with but half my heart, for of a truth one finds no 
 peace or quiet like that of those woods." 
 
 His last years were spent in Eome, and his labors in 
 his favorite art continued unremitting to the last. A 
 friend once, referring to his habit of constant work, re- 
 marked that the thought of death must be very unwel- 
 come. " By no means," the old sculptor replied, — " for 
 if life be a pleasure, yet, since death also is sent by the 
 hand of the same Master, neither should that displease 
 us." He died in 1564, having nearly completed his 
 eighty-ninth year. One of his last requests was that his 
 remains might be laid beside those of his relatives in 
 his beloved Florence. Near the close of the last day of 
 his life he said to the friends about him, *' I give my soul
 
 147&] MICHAEL ANGELO BUONAROTTI. 143 
 
 to God, my body to the earth, my wordly goods to my 
 nearest relations " ; and added, " When dying, my friends, 
 remember the suflerin!is of Jesns Christ borne for us." 
 Great honors were paid to his memory in Rome, and his 
 remains were deposited for a time in SS. Apostoli, where 
 a cenotaph has been placed ; they were subsequently re- 
 moved to Florence and interred, with solemn ceremonies, 
 in Santa Croce. 
 
 GIO VAN-FRANCESCO RUSTICI. 
 
 alOVAX-FEANCESCO EUSTICI was born in Flo- 
 rence about 1476. He was of noble birth, and 
 devoted himself to sculpture from love of the art. He 
 was a pupil of Andrea Verocchio, and fellow-pupil with 
 Leonardo da Vinci ; he afterwards attached himself to 
 Leonardo, whom he served with faithfulness and affec- 
 tion, and by whom he appears to have been much be- 
 loved. Something of the great master's spirit animates 
 the creations of Eustici ; among other things he acquired 
 Leonardo's method in the delineation of horses, in which 
 he took great delight, copying them in every possible 
 manner, and in all sorts of materials. His love for ani- 
 mals was excessive : he delighted in them, and in reptiles 
 even, which only aroused feelings of horror or repulsion 
 in others. 
 
 The principal work of Eustici is a bronze group repre- 
 .senting the Preacliing of St. John the Baptist, consisting 
 of a stJitue of St. John, a IMiarisee, an<l a Sadducee, larger 
 than life ; the two last are listening in most expressive 
 attitudes. It is said that these figures were executed ac-
 
 144 SCULPTORS OF THE RENAISSANCE. [i476. 
 
 cording to the designs of Leonardo da Vinci. This group 
 ranks among the most excellent of modern sculptures. It 
 is above the northern door of the Baptistery at Florence. 
 The work was executed by order of the merchants' guild 
 of Florence, and during its execution the artist was 
 obliged to sell an estate belonging to his inheritance to 
 meet his necessary expenses. But when the group was 
 finished, to the admiration of all who saw it, Eustici's 
 well-earned recompense was disputed, and he was allowed 
 but one fifth of the sum to which he was entitled. 
 
 Various productions by this artist mentioned by Vasari 
 have disappeared. 
 
 In consequence of civil commotions Rustici left Flo- 
 rence in 1528, and went to the court of France, where he 
 was employed by Francis I. upon the works at Fontaine- 
 bleau. He was engaged upon a model for the equestrian 
 statue of King Francis, but after the death of that mon- 
 arch tlie work was laid aside. 
 
 Eustici was a man of upright life, of great kindness of 
 heart, and was especially charitable to the needy. He 
 experienced many vicissitudes of fortune, but Vasari tells 
 us that in his old ac^e he was cared for " as befitted his 
 condition and merits," — and adds, " It is not to be 
 questioned, being true above all other truth, that even in 
 this life, the good that we do to our neighbor for the love 
 of God is often restored to us by twice a thousand-fold." 
 
 Eustici died in France in 1550.
 
 1477.] JACOPO SANSOVINO. 145 
 
 JACOPO SANSOVINO. 
 
 JACOrO TATTI, suruaiued Sansovino after his mas- 
 ter, Audrea Sansoviuo, was burn in Florence in 
 1477. He was tlie sou of Antonio Tatti, who belonged to 
 a family of honorable position and character, which was 
 especially favored by the IMedici. In liis early years Ja- 
 copo was sent to school where, though he displayed much 
 iutelligence in learning, he preferred the study of design 
 to that of letters, and was finally permitted to enter upon 
 the study of sculpture with Andrea Sansovino, then the 
 best sculptor and architect of the time, though his young 
 pupil was destined greatly to surpass him. The rela- 
 tions of the two came to be like that of father and son ; 
 instead of awakening feelings of jealousy, the superior tal- 
 ents of Jacopo seemed only to increase the attachment 
 of his teacher. 
 
 Having formed an acquaintance with Giuliano Sangallo, 
 architect to Julius II., Jacopo was by him taken to Kome, 
 where he was noticed by Bramante and other eminent 
 artists, as weU as by Pope Julius. It is probable that he 
 was instructed in architecture by Sangallo. He made a 
 careful study of the antique statuary in Rome, among 
 other tilings making a copy of the Laocoon group, which 
 was afterwards cast in bronze. He returned to Florence 
 in 1511, and was occupied with various productions in 
 scul[)ture, which brouglit him much fame. He again 
 went to liome, where he was for a time employed in 
 architectural works. The taking of liomo by Constable 
 liourbon drove San.sovino from the city, and he took 
 up his abode in Venice, where he was retained by the 
 
 Doge Andrea Gritti, for whom he undertook important 
 
 10
 
 146 SCULPTORS OF THE RENAISSANCE. [1477. 
 
 works in architecture and sculpture. He liked well his 
 home in the Venetian Eepublic ; though urged to return 
 to Florence, and to Eome, and invited to Ferrara, his re- 
 ply to all solicitations was, " Having the good fortune to 
 reside in a republic, it would be madness to go and live 
 under an absolute prince." 
 
 For forty years Jacopo resided in Venice, and his 
 genius stamped itself upon the sculpture and architecture 
 of the period. Among his sculptures are those in the 
 church of S. Marco, some of which are of high excellence. 
 For the choir he executed bronze reliefs, illustrating 
 legends from the life of St. Mark ; and he made the 
 bronze gate of the sacristy, which is a magnificent piece 
 of work, embellished with scenes from the life of Christ 
 in relief These are highly picturesque in style, and 
 sometimes the dignity of the subject is a little compro- 
 mised. Upon the breastwork in front of the high altar in 
 this church he made bronze statuettes of the four Evan- 
 gelists. The small bronze gate to the altar of the sacra- 
 ment he adorned with a relief of Christ surrounded by 
 Angels. 
 
 In the church of S. Maria dei Frari, upon the baptis- 
 mal font, is a small seated figure of St. John the Baptist, 
 which is admirable for its expression of tender feeliug. 
 The monument of the Doge Francesco Venier in S. Sal- 
 vatore is one of his late works, and of great excellence. 
 The portrait of the Doge is very dignified, and the struc- 
 ture is adorned with symbolical statues, those of Hope 
 and Love by the master. 
 
 The two famous statues of Mars and Neptune that 
 guard the grand staircase of the Doge's palace are by 
 Jacopo. These colossal marble figures give the name of 
 Scala dei Giganti to the stairs.
 
 1477.] JACOPO SANSOVINO. 147 
 
 The arcbitectural works of Jacopo Sansovino are re- 
 markable for grace aud elegance. His most celebrated 
 work in this department is the Library of S. Marco, one 
 of the finest secular edifices in Italy. 
 
 In the delineation of women and of children this artist 
 could scarcely be surpassed ; sweetness of expression and 
 grace of form are characteristics of his women, and the 
 figures of liis children are of the soft roundness of nature 
 itself. 
 
 Jacopo was much esteemed for his personal qualities, 
 as well as for his artistic genius. He was a man of trutli 
 and honor, and, though violent in his anger, M'as most 
 susceptible to kindness and gentleness. To his relatives 
 he was so devoted as to deprive himself of enjoyments 
 for the sake of assisting them. He was so highly es- 
 teemed in Venice that, when an extraordinary tax was 
 raised by the Senate, he and the painter Titian were alone 
 exempted. He died in 1570. 
 
 ALONSO BERRUGUETE. 
 
 ALONSO BERRUGUETE, an important Spani.sh 
 sculptor, was born in 1480. He went when 
 young to Italy, and remained for many years studying 
 in Rome and Florence. It is said tliat he studied under 
 ]\Iichael Angelo, and assisted him in various works ex- 
 ecuted for Julius II. Returning at length to his native 
 country, he executed many important works in the style 
 of the Italian art of tlie period. Among tliem may bo 
 noted, as excellent exarnjde.s, the reliefs in the clioir of 
 the cathedral at Toledo ; and the monument of tlie Car-
 
 148 SCULPTORS OF THE RENAISSANCE. [i480. 
 
 dinal and Grand Inquisitor Don Juan de Tavera, in the 
 church of the Hospital of S. Juan in Toledo. The sar- 
 cophagus upon which the figure of the deceased reposes 
 is ornamented with scenes in relief from the life of St. 
 John the Baptist, 
 
 Berruguete also practised painting and architecture. 
 He was made court painter and sculptor to Charles V. 
 The Italian style which he introduced into Spain was 
 adopted by his pupils, and his school is of considerable 
 importance in Spanish art history. Among his pupils 
 was EsTEBAN JOKDAN, wlio showcd in his productions a 
 strong inclination towards the style of Michael Angelo. 
 Another pupil, Gregorio Hernandez, is especially dis- 
 tinguished for grandeur of expression, and for the beauty 
 of his nude figures. Berruguete died in 1561. 
 
 BACCTO BANDINELLI. 
 
 BACCIO BANDINELLI, the son of a Florentine 
 goldsmith, was born in 1487. He was named 
 Bartolommeo, but was always called by the diminutive 
 Baccio. He was a talented youth, and, taught the ele- 
 ments of design by his father and afterwards instructed 
 by one of the best sculptors of the time, he became emi- 
 nent in his profession. He also became noted for being 
 vain, quarrelsome, and dishonest. The productions of 
 Michael Angelo awakened a powerful ambition in the 
 mind of this artist, and he desired to set himself up as a 
 rival of his celebrated and talented countryman. He 
 even turned his attention to painting ; but his labors in 
 this direction were not greatly successful, though he was 
 an excellent designer.
 
 1487.] BACCIO BANDIXELLI. 149 
 
 Among the most important of his works in sculpture is 
 the marble group of Hercules and Cacus, at the entrance 
 to the Palazzo Vecchio in Florence. Michael Angelo 
 was fii'st commissioned to execute a group for the place, 
 but, being obliged by other important engagements to 
 defer the work, the commission was transferred to Bandi- 
 nelli. It is said that the block of marble destined for the 
 group fell into the Arno on its way to Florence, which 
 gave rise to the joke that it attempted to drown itself 
 rather than submit to be chiselled by the hands of r>au- 
 dinelli. The wax model which Michael Angelo made for 
 his intended work is now in the South Kensinuton j\Iu- 
 seum. It appears to represent Samson fighting the Phi- 
 listines. 
 
 Llibke characterizes the group by Bandinelli as an 
 " empty, ostentatious work." The same writer says : 
 " The only tolerable work of this intolerable artist is the 
 marble choir screen in the cathedral, which he executed 
 in the latter part of his life, with the aid of his pupils 
 and assistants. It is adorned with eighty-eight figures of 
 apostles, prophets, and saints, in very shallow relief, most 
 of them in a simjjle and distinct style, displaying ex- 
 cellent adaptation to the space, and some of them in 
 unconstrained, and even noble attitudes ; on the whole, 
 however, they produce a very monotonous effect." In 
 the opinion of Westmacott (the younger), " The fault of his 
 composition generally, whether of one or several figures, 
 is in its too picturesque arrangement, and in his placing 
 his fitmres in somewhat forced and affected attitudes." 
 
 His statues of Adam and Eve are in the Palazzo Vec- 
 chio, but they are inferi(»r. His bas-reliefs are his best 
 ]»roductions ; some of llmsti in the Florentine cathedral 
 have been engraved by Papliacl Morglien.
 
 150 SCULPTOES OF THE RENAISSANCE. [i487. 
 
 He died in 1559, and was buried in a chapel of the 
 church of the Servites in Florence, where his tomb is to 
 be seen ; upon it are the portraits of himself and his wife 
 in relief. 
 
 Among the most noted pupils of Baccio Bandinelli was 
 Giovanni dell' Opera, or more properly Bandini, who 
 assisted his master in some of his works, and who was 
 one of the sculptors of the monument of Michael Angelo 
 in S. Croce. The statue of Architecture is by the hand 
 of Giovanni ; the statue of Sculpture is by Valerio Cioli, 
 a Florentine sculptor; and that of Painting, by Bat- 
 TiSTA LoRENZi, another distinguished pupil of Bandinelli. 
 Lorenzi also executed the bust of Michael Angelo, which 
 adorns the tomb ; it is considered a very faithful likeness. 
 Of the three allegorical statues that of Architecture by 
 Giovanni dell' Opera is the finest. 
 
 ALFONSO LOMBARDI. 
 
 ALFONSO LOMBARDI, or, more properly, Alfonso 
 CiTTADELLi, was bom at Lucca in 1488. He first 
 became distinguished for his medallion portraits in wax, 
 plaster, and terra-cotta. Later he worked in marble. In 
 the nobleness and beauty of his heads he has scarcely 
 been surpassed. His early works are marked by the nat- 
 uralism predominant in the fifteenth century, sometimes 
 to a very repulsive degree ; but later productions exhibit 
 a purer influence, and his best works are in a style of 
 comparative dignity and beauty. One of the most beau- 
 tiful productions of his early period is a marble relief, 
 adorning one of the altars in the cathedral at Cesena,
 
 1488] ALFONSO LOMBARDI. lol 
 
 representing St. Leonhard, St. Eustachius, and St. Christo- 
 pher, with the Infant Christ. " In tlie centre is St. Leou- 
 hard in the monk's cowl, which falls down in large simply 
 arranged masses, and holding a chain with which he is 
 raising his right hand. A thick curling beard encircles 
 the beautiful head. To the left is St. Christopher, with 
 tlie lovely Infant Christ, who is playing with his full 
 beard. He is represented in an advancing attitude, the 
 short light garment leaving the powerful and beautifully 
 formed thigh almost free ; his hand is resting on the rude 
 stem of a tree. On the ricjht is St. Eustachius, in the 
 attire of a Roman warrior, rather indicated than fully de- 
 tailed ; the upper part of the figure is bare and the arms 
 are naked, and the mantle has fallen down over the shoul- 
 ders in rather elegant than grand folds. The head is 
 charming in its youthful splendor, and is sun'ounded with 
 long curls ; in form and expression it calls to mind the 
 splendid heads of Sodoma, and is one of the most exqui- 
 site creations of this golden age. The artist of these three 
 figures still adheres, in the fine and careful treatment of 
 the drapery, which afibrds an effective contrast to the 
 simple monkish habit of St. Leonhard, to the tradition of 
 the fifteenth century ; but the figures, in their vigorous or- 
 ganization, mature and beautiful forms, and perfect under- 
 standing of structure, give the impression of an art which 
 had arrived at the height of perfection." * 
 
 Alfonso Lombardi was in Bologna at the time of the 
 coronation of Charles V., and was employed to execute the 
 decorations upon the triumphal arch which was placed 
 before the entrance to S. IVtronio. These works won 
 much favor for the artist. Some of the decorations of 
 the facade of S. I'etronio are by his hand ; namely, 
 
 • Dr. Lubke.
 
 152 SCULPTORS OF THE RENAISSANCE. [i488. 
 
 those which represent the Fall of Man, the Annunciation, 
 and the Eesurrection of Christ ; also, the relief from the 
 history of Moses. In S. Domenico in Bologna he ex- 
 ecuted a graceful marble relief upon the base of the sar- 
 cophagus of S. Domenico, illustrating incidents in the life 
 of the saint. In the Hall of Hercules, in the Palazzo Pub- 
 blico at Bologna, is a colossal figure of Hercules with the 
 Hydra, by this sculptor. 
 
 Vasari says of Alfonso, that in his later time he exer- 
 cised his art chiefly for his own gratification. He was 
 attractive in person, but his vanity rendered him ex- 
 tremely unpopular. He died in 1537. 
 
 GIOVANNI DA NOLA. 
 
 alOVANNI DA NOLA, or, more correctly, Giovanni 
 Merliano, was born near Naples in 1488. He 
 was a leading master in the Neapolitan school of art, and 
 has left numerous works of excellence, though not much 
 of his personal history is now to be learned. Most of his 
 works are to be seen at Naples. Among his earliest pro- 
 ductions is the monument of the three brothers Sanseve- 
 rini, in the chapel which bears their name in S. Severino. 
 One of his finest works is the tomb of Don Pedro di 
 Toledo, back of the high altar of S. Giacomo degli Spag- 
 nuoli. Upon the base are carefully wrought bas-reliefs 
 representing the achievements of the viceroy ; at the 
 corners are figures of the Virtues ; upon the sarcophagus 
 are statues of the deceased and his wife. The high altar 
 of S. Lorenzo is another fine work by Nola. The church 
 of S. Domenico contains several monuments by this sculp-
 
 148a] GIOVANNI DA NOLA. 153 
 
 tor ; also a statue of St. Julin, aud a beautiful high relief, 
 ■with statues of the Virgin and saints. He died in 1558. 
 GiROLAMO Saxtacroce, a sculptor of the same period, 
 was also a leader in the Xeapolitan school of art, and the 
 two artists sometimes labored in competition. 
 
 ANTONIO BEGARELLI, 
 
 A XTOXIO BP:GARELLI, called also Antonio da 
 -i-j^ MoDENA, was an eminent designer and modeller, 
 born at Modena in 1499. He was associated with Cor- 
 reggio in the decoration of the cathedral at Parma, and, 
 it is said, made the models fron which Correggio painted 
 many of his floating figures. The style of the two mas- 
 ters, as regards the grace aud beauty of their figui-es, is 
 similar. 
 
 At Modena, in a chapel of the church of S. Francesco, 
 Begarelli executed a large composition in terra-cotta, rep- 
 resenting the Descent from the Cross. IMr. Perkins says of 
 this work : " By far the most striking feature in the com- 
 position is the central group of women, one of. whom sup- 
 ports the head, while the other two hold up the drooping 
 hands of the Virgin, whose attitude is one of complete 
 abandonment, and who.se face wears that expression of 
 suffering which the features sometimes retain while con- 
 sciousness is suspended. Hud this group been painted 
 by Correggio, it would have ranked as a masterpiece ; 
 but owing to its fluttering aud complicated draperies, and 
 the hasty acti(jn of the women, who seem to have turned 
 from the Crucified just in time to receive the fainting 
 form of his mother, it is bad in sculpture."
 
 154 SCULPTORS OF THE RENAISSANCE. [i499. 
 
 In the nave of the church of S. Pietro are six statues 
 by Begarelli, and in the chapel at the left of the choir is 
 a group in terra-cotta representing the Virgin and saints 
 bewailing the dead Christ. It exhibits nobleness of con- 
 ception, and the individual figures are grand and beauti- 
 ful. We are told that Michael Angelo exclaimed, on 
 viewing this group, " If this clay were marble, alas for 
 the antique statues ! " 
 
 This master taught design and modelling, and his 
 influence upon the art of his time must have been con- 
 siderable. He died in 1565. 
 
 JEAN JUSTE. 
 
 JEAN JUSTE, a native of Tours, was an excellent 
 French sculptor, who flourished in the early part of 
 the sixteenth century. His works are characterized by 
 truth of expression, tenderness of feeling, and graceful 
 execution. 
 
 His most celebrated work is the monument of Louis 
 XII. and his wife, Queen Anne of Bretagne, in the 
 church of St. Denis, executed about 1520. It is of white 
 marble, and richly decorated. The king and queen are 
 twice represented upon the monument ; below they are 
 lying outstretched in death, and above they are kneeling 
 in prayer. The recumbent figures are characterized by 
 the most vivid and terrible truth, while the others are 
 invested with all the charm of life and feeling. The 
 monument is surrounded by twelve highly decorated 
 arches, beneath which are statues of the twelve apostles. 
 Upon the pedestal are rebefs representing the entry of
 
 15... J JILVN JUSTE. 155 
 
 Louis XII. into Milan, in 1497 ; liis passage of the Geno- 
 ese mountains, and his victory over the Venetians at 
 Agnadello, in 1507. 
 
 A monument to the children of Charles VIII. and 
 Anne of Bretagne, in the cathedral of Tours, is also the 
 ■work of this master. It is of marble, of beautiful design 
 and finish. " On the lid, the most lovely and innocent 
 pair of children are calmly represented side by side. The 
 smaller one is holding his little hands under the ermine 
 mantle, the elder is laying his hands piously one over 
 the other. The drapery, the fine countenances with their 
 crisp curls and soft eyelids, are all exquisitely tender. 
 Two charming angels full of heartfelt devotion are kneel- 
 ing in prayer at the head." * 
 
 Jean Juste is supposed to have died about 1534. 
 
 Juste le Juste, brother of the preceding, was also a 
 sculptor, and is said to have labored in conjunction with 
 his more gifted brother. 
 
 BENVENUTO CELLINI. 
 
 BEXVENUTO CELLIXI was bom in Florence, in 
 1500. He was sculptor, founder, and engraver on 
 stone and metal He devoted himself at first to learning 
 music, in accordance with his father's wislies ; but having 
 a strong love for art, he was afterwards allowed to follow 
 his inclinations, and very early produced works which 
 were greatly admired. Cellini was patronized by the 
 Church, and, Ixjing an excellent engraver of medals, was 
 appointed by Clement VII. engraver for the mint. 
 
 At Florence he executed for Cosimo de' Medici one of 
 
 * Dr. Liibke.
 
 156 SCULPTORS OF THE RENAISSANCE. [i5oa 
 
 his most admired works, — a bronze figure of Perseus, 
 holding the head of Medusa and standing upon her body, 
 — now in the Loggia de' Lanzi. It is full of life and 
 vigor, yet simple in expression. The pedestal is adorned 
 with small statues and sculptures in relief, relating to the 
 story of Perseus. Cicognara regards the figure of Perseus 
 as too robust; he thinks it should partake more of the 
 character of Apollo, and less of that of Hercules. M, 
 Taine says : " This Perseus is brother to the Discobolus, 
 and has had his actual anatomical model : his knees are 
 a little heavy, and the veins of the arms are too promi- 
 nent; the blood spouting from Medusa's neck forms a 
 gross, full jet, the exact imitation of a decapitation. But 
 what wonderful fidelity to nature ! The woman is really 
 dead; her limbs and joints have suddenly become relaxed; 
 the arm hangs languidly ; the body is contorted, and the 
 leg drawn up in agony. Underneath on the pedestal, 
 amidst garlands of flowers, and goat's heads, in shell- 
 shaped niches of the purest and most elegant taste, stand 
 four exquisite bronze statuettes, with all the living nudity 
 of the antique." 
 
 Cellini went to France at the invitation of Francis I., 
 and while there he sculptured the Nymph of Fontaine- 
 bleau, — a bronze work in high relief, which is now in 
 the Louvre. It represents a nude figure of colossal size, 
 and with limbs of excessive length, in a half-recumbent 
 position, resting upon one arm, while the other is round 
 the neck of a stag. It is of very delicate execution. 
 
 At Windsor Castle is a shield of remarkable elegance 
 of design and workmanship, which is attributed to Cel- 
 lini, and probably with justice. His small works were 
 greatly admired, and ornamental articles attributed to 
 him are often met with.
 
 ifioo.] BE^'YE^'UTO CELLINI. 157 
 
 Cellini's life was fiill of adventure, and bis personal 
 character was less admirable tban bis genius. He left a 
 voluminous and curious biography, — "Vita di B. Cellini," 
 1720, — which has been translated into English, French, 
 and German. It is full of egotism and bombastic ac- 
 counts of the author's exploits. He also wrote treatises 
 upon sculpture, jewelry, and the casting of bronze. He 
 died at Florence in 1570, and was buried with pomp in 
 the church of the Annunziata. 
 
 FRA GIOVANNI ANGELO MONTORSOLI. 
 
 FRA GIOVAXXI xVXGELO MOXTORSOLI, sculp- 
 tor and architect, was born at IMontorsoli, near Flo- 
 rence, about 1500. As he early evinced an inclination 
 for designing, he was placed under the instruction of 
 stone-carvers in the quarries at Fiesole, where he became 
 quite skilful in the use of sculptor's tools. He was after- 
 wards placed with the Tuscan master, Andrea da Fiesole, 
 under whose instruction he remained for three years. At 
 the end of this period, his father having died, he set out 
 for Rome with a company of young sculptors, to find em- 
 ])loyment in the works then going forward in that city. 
 According to Va.sari, he wa-s first employed in St. Peter's, 
 carving " several of those rosettes whicli are in the great 
 cornice that passes entirely around the church, which he 
 did to his great advantage, receiving good pay for tlie 
 same." 
 
 As an independent artist, he was employed at Rome, 
 Perugia, and Volterra ; ami while still very young he
 
 158 SCULPTORS OF THE RENAISSANCE. [1500. 
 
 became the assistant of Michael Angelo, who was then 
 employed upon the church of S. Lorenzo in Florence. 
 
 In 1530 Montorsoli took the monastic habit among the 
 Servites in the monasteiy of the Annunziata at Florence. 
 He was, however, recalled -to Eome by Pope Clement 
 VII., in order to restore some of the mutilated monuments 
 of antique sculpture. He was also employed in artistic 
 labors in Naples, Genoa, and other Italian cities. As an 
 example of his facility, Vasari tells us that, during his 
 travels, he on one occasion repaired to Budrione, where 
 his brethren were holding a general chapter of their 
 order ; and in a day and night modelled two life-size 
 figures representing Faith and Charity, which served to 
 ornament a fountain improvised for the occasion. " This 
 fountain," says Vasari, " continued to throw water during 
 the whole of the day on which the chapter was held, to 
 the great honor and glory of the Frate." 
 
 At Genoa, Montorsoli remodelled the interior of the 
 church of S. Matteo, and adorned it with fine sculptures. 
 This is probably his most important work. The crypt 
 he adorned with stucco reliefs, and constructed in it the 
 tomb of Andrea Doria. He also restored the Palazzo dei 
 Principi Doria. 
 
 At Messina, Montorsoli erected a magnificent fountain 
 on the piazza of the cathedral. It is of elaborate design, 
 and is adorned with a great number of mythological and 
 allegorical figures, the latter representing the Nile, the 
 Ebro, the Tiber, and the brook Camaro, near Messina. 
 
 According to Vasari this artist died in 1563. He had 
 bestowed his fortune upon the society of artists in Flo- 
 rence called the Compagnia di S. Luca, now the Academy 
 of Florence.
 
 1501] PROSPERO CLEMENTI. 159 
 
 PROSPERO CLEMENTI. 
 
 PEOSPEKO CLE.MENTI, or, more correctly, Spaxi, 
 an eminent Italian sculptor, was born at Keggio 
 about 1504. AVe are told that he was taught the prin- 
 ciples of art by his grandfather, who was considered one 
 of the ablest sculptors of his time. It lias been said that 
 Clemeuti was a pupil of Micliael Augelo ; and though 
 there is some doubt of this, he was certainly an imitator 
 of the great master's style. 
 
 The gi'eater number of his works are to be seen in 
 his native town of Eeggio. In the cathedral are several 
 monuments and statues by him. For the principal en- 
 trance to the cathedral, he executed colossal statues of 
 Adam and Eve; various other statues which adorn the 
 fa(j;ade are by his pupils. The finest of the monuments 
 is that of Ugo Eangoni, Bishop of Eeggio; it was exe- 
 cuted abont 1561, and is considerd the master-work of 
 the artist. 
 
 In the cathedral of Parma, the principal altar is the 
 work of Clementi ; his fine monument of the jurist Prati 
 is to be seen in the cryjit. In the cathedral at Mantua 
 is the tomb of Andreasi, Bishop of Alantua, executed by 
 Clementi in 1551. 
 
 This artist's works are remarkable for correctness 
 of design, and for an exquisite beauty of conception. 
 He has Ijeen called " the Correggio of sculpture," on 
 account of the grace of form which characterizes his 
 productions. 
 
 He died in 1584. His tomb is in a chapel of the 
 cathedral at lieggio, where is to be seen a fine bust of the 
 sculptor, executed by his pupil, Bacchione.
 
 160 SCULPTORS OF THE RENAISSANCE. [i5io. 
 
 GIROLAMO LOMBARDO. 
 
 alROLAMO LOMBARDO, Italian sculptor, was born 
 at Ferrara about 1510. He studied under Andrea 
 Contucci (Sansovino), and in conjunction with another 
 artist completed work which that master left unfinished 
 
 at his death. 
 
 In sculpture Girolamo adhered to the principles of a 
 more fortunate period of art than his own, which secured 
 a noble style of composition; his works were also dis- 
 tinguished for a delicate and tasteful execution. He was 
 one of the best of the artists who assisted in the execu- 
 tion of the sculptures of the Santa Casa at Loreto. He 
 resided in the adjacent town of Recanati, where he estab- 
 lished a foundry for the casting of his works in bronze. 
 
 The four gates of the Santa Casa are the work of this 
 sculptor. Each gate consists of two compartments, in 
 which are represented scenes from the life of Christ. He 
 designed the principal door of the church at Loreto, but 
 the execution was by his four sons. The Madonna and 
 Child above the principal door is by Girolamo's own 
 hand, and is said to be his last work. He is supposed 
 to have died about 1560. 
 
 BARTOLOMMEO AMMANATI. 
 
 BARTOLOMMEO AMMANATI, or Amanato, Ital- 
 ian sculptor and architect, was born at Florence 
 in 1511. He studied under Baccio Bandinelli and San- 
 sovino, and came to be highly esteemed in his time as a 
 sculptor, though he is more eminent as an architect. In
 
 1511] BARTOLOMMEO AMMANATI. 161 
 
 sculpture lie imitated ^Michael xVngelo to some extent. 
 He labored at Florence, Naples, and Kome, both as sculp- 
 tor and architect. Among his productions in sculpture 
 is the monument of Cardinal de' Monti, in S. Pietro in 
 Montorio in Piome, In the Eremitani at Padua is an- 
 other sepulchral monument by Ammanati, — that of Be- 
 uavides, the scholar and professor of law. It is a huge 
 structure. Liibke says : " To what a vainglorious style 
 sculpture at this period condescended may be seen in 
 the monument which the scholar Marco Mantova Bena- 
 vides ordered Ammanati to erect to him during his life- 
 time (154G), in the Eremitani at Padua. Below are 
 Knowledge and Weariness, then Honor and Fame, and 
 above Immortality, accompanied by two other Genii. If 
 anything indicates the decline of art, it is such empty 
 and boastful allegories. "What a cleft separates this 
 monument from the noble tombs of the earlier period, 
 where the deceased, under the guardianship of the Ma- 
 donna and his patron saints, passes slumberingly into a 
 better life ! " 
 
 In Florence Ammanati rebuilt the Ponte SS. Trinitii, 
 in a handsome and substantial manner. He adorned its 
 parapets wdth statues of the Seasons. He designed the 
 wings and court of the Pitti Palace, and tlie llucellai 
 Palace. Among his architectural works in Ptome is the 
 far^ade of tlie CoUegio Ivomano. He died in 1589, and 
 was buried in 8. Giovannino, belonging to the Padri delle 
 Scuole Pie. He had in 1580 remodelletl this church, and 
 to the society lie bequeathed his property. The wife oi 
 Ammanati, Laura liattiferri of Urbino, was distinguished 
 for her poetical talent and other accomplishments. 
 
 11
 
 162 SCULPTORS OF THE RENAISSANCE. [1512. 
 
 FRA GUGLIELMO BELLA PORTA. 
 
 FEA GUGLIELMO BELLA POETA, called MILA- 
 NESE, was a distinguished Italian sculptor, born 
 about 1512. He was a nephew of Giacoma della Porta, 
 an eminent architect of Milan who labored extensively 
 in Eome during the latter half of the sixteenth century ; 
 among other works, erecting the cupola of St. Peter's 
 after the designs of Michael Angelo. 
 
 Guglielmo studied the elements of design with his uncle, 
 and afterwards went to Genoa and became the pupil of 
 the ]3ainter, Pierino del Vaga. It is said that he assisted 
 his master in the decorations of the Doria palace. Later 
 he went to Eome, and practised sculpture, becoming a 
 follower of the style of Michael Angelo, by whom he was 
 much esteemed. When the Farnese Hercules was dis- 
 covered, Guglielmo was intrusted with the restoration of 
 the legs, which task he performed in so masterly a manner 
 that, when the original limbs were discovered, Michael 
 Angelo preferred to let the statue remain as it was. The 
 original limbs were, however, restored when the statue 
 was removed to Naples. 
 
 About 1550 this artist was commissioned to execute 
 the monument of Pope Paul III. to be placed in the Trib- 
 une of St. Peter's. The statue of the Pope is a bronze 
 figure of dignified mien, seated with hand extended in 
 blessing. Figures of Justice and Prudence are lying 
 upon the sarcophagus, suggesting the figures upon the 
 Medici tomb in Florence. The statues of Peace and 
 Abundance which belonged to the monument are now in 
 the Farnese palace. 
 
 While in Genoa, it is said that Guglielmo was so much
 
 1512] FRA GUGLIELMO DELLA PORTA. 163 
 
 esteemed by his master, Pierino del Vaga, that he offered 
 the young artist his daughter in marriage ; but the offer 
 was declined, as CJuglielnio liad determined to enter the 
 priesthood. In Tiome he became intimately attached to 
 Sebastian del Piomlx), and at the death of the latter he 
 was appointed to the office of Keeper of the Seal. He 
 died about 1577. 
 
 PIERINO DA VINCI. 
 
 PIEEIXO DA VINCI, nephew of Leonardo da Vinci, 
 was a promising sculptor, born in the early part of 
 the sixteenth century, who died in early life leaving but 
 few finished works. These few, however, serve to indicate 
 what his genius might have accomplishod in its full 
 development. 
 
 Pierino was the son of Bartolommeo, a younger brother 
 of Leonardo. We are told by Vasari that Bartolommeo, 
 who had married one of the best-born maidens of the Cas- 
 tello di Vinci, " was exceedingly desirous of a male child, 
 and frequently described to his wife the greatness of that 
 genius with which his brother, Leonardo, had been en- 
 dowed ; wlierefore she prayed God that he would make 
 her wortliy to be the mother of a second Leonardo, and 
 tliat by her means a successor might be presented to the 
 family, lie being now dead. Some time afterwards, and 
 when, according to his desire, there was born to Bartolom- 
 meo a graceful little son, lie was minded to give the child 
 the name of Leonardo, 1nit being advised by liis kindred 
 to choose that of his own father instead, he consented to 
 give the boy the name of Piero." And so he was called
 
 164 SCULPTORS OF THE RENAISSANCE. [i52.. 
 
 Pierino, — little Piero. He grew up possessed of great 
 beauty and intelligence, and early evinced a taste for art 
 by drawing and modelling small figures in clay. Bar- 
 tolommeo believed that his brother had been restored to 
 him in the person of his son ; and when he had arrived 
 at the proper age, he was taken to Florence to be in- 
 structed in art. His progress was remarkable, and, his 
 productions becoming known and admired, he was called 
 // Vinci, for the sake of his connection with Leonardo, 
 and for his resemblance, through his genius, to that dis- 
 tinfTuished artist. 
 
 He studied with Tribolo, and later went to Eome, where 
 it is said he received instruction from Michael Angelo, 
 and became an enthusiastic imitator of that great mas- 
 ter. A bronze relief, by Pierino, representing the death 
 of Count Ugolino and his sons, has been attributed to 
 Michael Angelo. It is in the palace of the Conte della 
 Gherardesca in Florence. He executed a marble relief 
 representing the Eestoration of Pisa by Duke Cosimo, 
 whicli is now in the Vatican. 
 
 A small relief in marble by him, representing the Ma- 
 donna and Child, St. Elizabeth, and St. John, is now in 
 the Uffizi Gallery in Florence. 
 
 During a visit to Genoa, II Vinci was attacked by a 
 violent fever. Longing to reach his home, he set out for 
 Leghorn by sea, and thence was conveyed to Pisa, where 
 he died, worn out with fever and fatigue, not yet having 
 completed his twenty-third year. 
 
 Luca Martini, a poet of the time, and a devoted friend 
 of the young artist, wrote a sonnet to his memory, in 
 which he laments the early death of " tlie second Vinci," 
 which event rendered " heaven more rich, and sculpture 
 less beautiful."
 
 1520?] GERMAIN PILON. 165 
 
 GERMAIN PILON. 
 
 aEK^IAIX PILOX was born at Loud, a small village 
 near Mans. The date of his birth is not known 
 with certainty, — it has been given as 1520 and as 1515. 
 Germain Pilon and Jean Goujon have each an important 
 share in tlie restoration of French sculpture. In their 
 works the inspiration of Italian art was exhibited in a 
 marked decrree. IMlon was instructed in the elements of 
 art by his father, a sculptor of small reputation ; and 
 about 1550 went to Paris, M'here he was extensively em- 
 ployed. 
 
 His principal work is the monument of Henry II. and 
 Catlierine de' Medici erected in the Church of St. Denis, 
 wliich occupied the artist from 1564 to 1583. 
 
 Another celebrated work, ordered by Catherine de' 
 Medici, is a group of three women supporting a vase, 
 wliich it is said was intended to contain tlie hearts of 
 Henry II. and Catherine de' Medici. This monumental 
 curiosity is known by the name of the Three Graces, but 
 there has been much controversy in the endeavor to decide 
 wliether it represents the Graces attendant upon the god- 
 dess of Love, or the Theological Virtues. " They are stiff 
 figures, the extreme slenderness of which is not, as in 
 Goujon's works, moderated by graceful lines and fine ex- 
 pression ; tlie drapery is arlntrarily arranged, and is full 
 of i)altry mannerism. The three females are represented 
 standing close together, their hands touching as if for a 
 dance. On their heads, the hair of which is elegantly 
 dressed (grazkuscment coiJff'<:<i, as the French say), they 
 
 originally bore the heart of Henry II. in an urn It 
 
 has ]x3en tried to explain tlie Three Graces as the Divine 
 Virtues. This, however, is contradicted by the inscription,
 
 166 SCULPTORS OF THE RENAISSANCE. [i5207 
 
 which states that the Graces justly bore this heart, their 
 former abode, upon their heads. A second distich asserts, 
 no less truthfully, that the Queen would rather conceal 
 this heart in her bosom. With the same truthfulness, 
 Diana of Poitiers says on the monument of her husband, 
 ' As once she was an inseparable and true wife on earth, 
 she wiU one day be so also in the grave.' The Latin lan- 
 guage was an excellent channel for such monumental 
 audacities. But with falsity of this kind how was art to 
 remain genuine and truthful?"* 
 
 This work is now in the Louvre. In the same gallery 
 are also the remains of the double mausoleum of Een6 
 de Birague (or Birago), and his wife, Valentine Balbiani. 
 Birague, the man who, Michelet said, was " so impatient 
 to become a cardinal that he suddenly became a wid- 
 ower," was during the latter part of his life Chancellor of 
 France. Upon one tomb is the bronze figure of the Chan- 
 cellor, in long robes, kneeling in the attitude of prayer. 
 Upon the other is the marble figure of his wife, lying in 
 a careless attitude, reading, with a lapdog near her. A 
 bas-relief upon the front of the base of the monument 
 represents the same figure, but emaciated and lifeless. 
 
 In portrait sculpture this artist was very successful. 
 
 The date of Pilon's death is not known, but it probably 
 occurred about 1590. 
 
 PAOLO PONZIO TREBATTI. 
 
 PAOLO PONZIO TPtEBATTI, sometimes called Mai- 
 TRE Ponce, flourished about the middle of the six- 
 teenth century. He was a native of Florence, but went 
 to France with Primaticcio, and remained there. He is 
 
 * Dr. Liibke.
 
 15...] PAOLO POXZIO TREBATTI. 167 
 
 supposed to be identical with the often-mentioned artist 
 Ponce Jacquio. lie -was first employed at ]\Ieudon, and 
 afterwards at Fontainebleau, executing many of the sculp- 
 tures which adorn the palace there. 
 
 In the Louvre are two monuments executed by Tre- 
 batti, — that of Prince Albert of Savoy, Duke of Carpi, 
 one of the generals of Francis L, and tliat of Charles de 
 !Magny, or ^laigne, Captain of the Watch under Henry II. 
 A portrait figure of the former in bronze is leaning upon 
 one elbow in an attitude of repose, looking meditatively 
 upon an open book. A statue of the latter, a portrait in 
 stone, is clad in mail, sleeping in a sitting posture, hal- 
 berd in hand. ^'iardot says, " These two figures by 
 Trebatti give us a very high opinion of the Frencliified 
 Italian, who has been much lauded for the boldness of 
 his style, and to whom many of the best works of other 
 artists have been attributed." 
 
 From 1559 to 1571 this sculptor was engaged upon the 
 royal monuments of St. Denis. His labors in France 
 extended over a period of nearly forty years. 
 
 JEAN DE BOLOGNA. 
 
 JEAN DE BOLOGNA, also known in history as 
 Giovanni da Bologna, was born at Douai in Flan- 
 ders, in 1524. He early went to Italy, where he lived for 
 many years. In Florence he is called Giam-Bologna. 
 
 This artist chose the works of ]\[icluiel Angelo as his 
 chief models ; a story is told that he once presented 
 Michael Angelo a very finely finished work in plaster, 
 and tliat the old master demolished it with a blow ex-
 
 168 SCULPTORS OF THE RENAISSANCE. [1524 
 
 claiming, "Young man, learn to use the chisel before 
 finishing." This artist's figures are criticised as too gen- 
 eral in character, though they exhibit boldness of attitude, 
 and a degree of freshness and beauty. He accomplished 
 a great amount of work, and the greater portion of his 
 sculptures are in Italy. 
 
 His master-piece is the Flying Mercury, now in the 
 Uf&zi Gallery in Florence. It is a marvel of lightness 
 and graceful poise. The airy messenger of the gods rests 
 one foot upon a zephyr, as he is about to spring away. 
 It is sculptured with great freedom and boldness, yet 
 every line is one of beauty and grace ; it has been com- 
 pared with the finest models of antiquity. The work has 
 been often copied. 
 
 Another fine work is the fountain in the Piazza Net- 
 tuno in Bologna. Upon the summit is a grand figure of 
 Neptune grasping his trident; at the corners of the basin 
 are seated four figures of lifelike, merry children, and at 
 the base of the structure are the figures of four sirens. 
 In the Boboli Gardens in Florence is a beautiful fountain 
 by this sculptor. For the Piazza della Signoria (formerly 
 Granduca) in Florence, he executed an equestrian statue 
 of Cosimo I., of great excellence. He also executed an 
 equestrian statue of Ferdinand I., which stands in the 
 Piazza della SS. Annunziata; it was cast from cannon 
 taken by the Knights of St. Stephen from the Turks. 
 
 In the Loggie de' Lanzi is his famous marble group 
 of the Rape of the Sabines. Sir Joshua Eeynolds says : 
 "John of Bologna, after he had finished a group of a 
 young man holding up a young woman in his arms, with 
 an old man at his feet, called his friends together to tell 
 him what name he should give it, and it was agreed to 
 call it the Puape of the Sabines."
 
 1524.] JEAN DE BOLOGNA. 169 
 
 The bronze doors of the cathedral of Pisa were designed 
 by Jean de Bologna and executed by other artists. Upon 
 the central door is the history of the Virgin ; upon those 
 at the sides are represented scenes in the life of Christ. 
 Statuettes of Christ and St. John the Baptist are upon 
 the holy-water basins in the cathedral of Pisa ; above the 
 high altar is a Crucitixion by him, and at the entrance to 
 the choir two bronze angels. 
 
 One of the statues adorning the exterior of Or San 
 iMichele in Florence, that of St. Luke, is by this artist. 
 He died in 1G08 ; his tomb is in SS. Annunziata, in 
 Florence. 
 
 JEAN GOUJON. 
 
 JEAX GOUJOX, sculptor and architect, was born in 
 Paris in 1530. He has been called the restorer of 
 sculpture in France ; he has been also styled the " French 
 Pliidias," and the " Correggio of sculpture." He studied 
 sculpture in Paris, and no doubt visited Italy, for his 
 style shows a familiarity with the pure forms of the 
 antique. He produced excellent works in relief, remark- 
 able for distinctness and also for delicacy. His figures 
 are graceful, though sometimes of too lengthy and slender 
 proportions. 
 
 The work which brought him his greatest fame was 
 the Fountain of the Innocents, executed for the ]\Iarche 
 des Innocents. Upon this structure are two very graceful 
 nymphs, though .standing in such narrow niches tliat the 
 finest ell'ect is lost. Some of the reliefs from this fountain 
 have been placed in the Louvre. 
 
 Goujon's famoua Diane Cluinscrcssc, a marble statue of
 
 170 SCULPTORS OF THE RENAISSANCE. [1530. 
 
 the goddess which formerly belonged to a fountain at the 
 castle of Anet, built for Diana of Poitiers, is now in the 
 Louvre. The Diana is a graceful figure of excessive 
 length, seated, with the right arm around the neck of a 
 stag, and holding in the left hand a bow, 
 
 Goujon was employed at Eouen, and the tomb of the 
 Due Louis de Breze, raised by his wife, Diane de Poitiers, 
 in the cathedral, is ascribed to him and the sculptor 
 Cousin. 
 
 An Entombment of Christ, and the Four Evangelists, 
 are reliefs by his hand now to be seen in the Louvre. 
 The scene of the Entombment is a dignified and touch- 
 ing work, showing much power in dealing with sacred 
 subjects. The four figures of the Evangelists are full of 
 character. These reliefs are an early work of the art- 
 ist, and were executed for the rood loft in St. Germain 
 I'Auxerrois in Paris. 
 
 Jean Goujon was patronized by Henry II., and em- 
 ployed in the decorations of the Louvre. This was the 
 last work upon which he was engaged. He was a Prot- 
 estant, and was killed in the massacre of Saint Bar- 
 tholomew in 1572. 
 
 STEPANO MADERNO. 
 
 STEFANO MADERNO, an Italian sculptor, was born 
 near Como, in 1576. During the early part of his 
 career he was much occupied in the execution of models 
 after the antique, which were afterwards cast in bronze. 
 
 One of the most remarkable and the most celebrated 
 of his works is the marble figure of the dead S. Cecilia, 
 in the church of S. Cecilia in Trastevere in Rome, a
 
 1516.] STEFANO MADERNO. 171 
 
 picturesque work, and full of deep and tender feeling. 
 According to the legend of this virgin martyr, it was her 
 dying request that her dwelling should be converted into 
 a place of Christian worship, and this wish was fulfilled. 
 After the building fell into ruin, it was rebuilt by Pope 
 Paschal I., in the ninth century. It is related that he 
 had a vision in which S. Cecilia appeared and revealed 
 to him the spot in which her body had been buried. 
 Search was made, and the body, which had been embalmed, 
 was found, and placed in the new edifice. This church, 
 having fallen into decay, was restored and embellished in 
 the sixteenth century by Cardinal Sfondrati. At this 
 time it is said that the sarcophagus was opened and the 
 remains were found intact, enveloped in a long robe, and 
 lying in a singular but graceful and expressive attitude. 
 Stefano Maderno was commissioned to execute a statue 
 in marble representing the saint in the attitude and vest- 
 ments in which her body had been found. This beautiful 
 and remarkable work is the ornament of the high altar 
 of the church. The figure, lying as if in sleep, is entirely 
 covered with drapery, which is exquisitely sculptured, 
 showing the form beneath it. The arms are stretched out 
 and crossed at the wrists ; the hands are delicately shaped 
 and very beautiful ; the head is enveloped in drapery, and 
 the features are concealed. 
 
 In the I'auline chapel of S. Maria ^laggiore are some 
 of Maderno's works in bas-relief. 
 
 In his later time this artist received a commission in 
 the civil government of Ilipetta, which quite occupied 
 him, and he relinquished his art after having produced 
 numerous works. He died in liome in 1G36.
 
 172 SCULPTORS OF THE RENAISSANCE. [158L 
 
 SIMON GUILLAIN. 
 
 SIMON GUILLAIN', a French sculptor of considerable 
 importance, was born in Paris in 1581. His father 
 was a reputable sculptor, and sent him to Eome to study. 
 After his return to his native city he gained a high repu- 
 tation, and his best works were produced there. Among 
 the most important of them now existing are the bronze 
 statues of Louis XII I., Anne of Austria, and Louis XIV, 
 as a child. These formed part of a monument that once 
 adorned the Pont au Change, and are now in the Louvre. 
 Many of Guillain's works were destroyed in the Eevolu- 
 tion. 
 
 This artist is said to have been the first who suggested 
 the weekly reunions of artists, from which in time arose 
 the Academy of Pine Arts, and he was one of the first 
 directors of this institution. He died in 1658. 
 
 FRAN9OIS DUQUESNOY. 
 
 FRANgOIS DUQUESNOY, called the Fleming, 
 known in Italy as Fiammingo, was a sculptor of 
 considerable reputation, born in Brussels in 1594. He 
 was taught the rudiments of art by his father, who was 
 a sculptor. He early displayed so much talent that the 
 Archduke Albert sent him to Italy to study. While still 
 young he lost his generous patron, and, forming a connec- 
 tion with Poussin in Eome, they pursued their studies to- 
 gether. He soon became distinguished for the beauty of 
 his statues of children. He modelled the groups of chil- 
 dren which adorn the columns of the grand altar of St.
 
 U94.] FRAN(;'OIS DUQUESNOY. 173 
 
 Peter's. One of the colossal statues beneath the dome of 
 St. Peter's — that of St. Andrew — is the work of Uii- 
 quesnoy ; \i\x)u. this he was occupied for five years, and it 
 ranks with the best productions of modern art. 
 
 For the church of S. ]\Iaria di Loreto in Rome he exe- 
 cuted a statue of S. Susanna of much simplicity and 
 beauty. Duquesnoy did not receive the patronage to 
 which his genius and skill entitled him. He died in 
 1044, or 1646, by poison from the hand of his brother. 
 
 GIOVANNI LORENZO BERNINI. 
 
 GIOVAXNI LOPEXZO BERNINI, caUed II Cava- 
 LIERE Berxini, was a famous sculptor and archi- 
 tect, born at Naples, in 1598. He was gifted with brilliant 
 talents, which were manifested at a veiy early period. 
 His taste for art was carefully cultivated by his father, 
 and while very young he was taken to Rome. He was 
 regarded as a prodigy, and received the title of the " sec- 
 ond Michael Angelo." Among his early works were 
 busts of the Pope, and various cardinals. Before he was 
 eighteen years of age he executed a group in marble of 
 Apollo and Daphne, which was greatly admired, and 
 which late in life the artist declared to be one of the 
 l>ost works he ever produced. It is now in the Villa 
 Borghese in Rome. The future that this work seemed to 
 indicate was never realized. Had Bernini labored at a 
 more fortunate period of art his career might have been 
 dilferent ; Imt the decadence had ])egun, and, yielding to 
 its influence, his genius and activity only helped to make 
 the descent more swift and sure.
 
 174 SCULPTORS or THE RENAISSANCE. [i598. 
 
 Bernini labored in Italy for half a century, and under 
 several different Popes. For Pope Urban VIII. he ex- 
 ecuted designs for the embellishment of St. Peter's. In 
 sculpture he executed the bronze equestrian statue of 
 Constantine the Great, which stands in the portico. He 
 constructed the bronze and gilt haldacchino, or canopy of 
 the high altar ; it is supported by four twisted columns, 
 copied from those said to have been brought from the 
 temple at Jerusalem. Above the columns are figures of 
 angels ; the covering is surmounted with a globe, above 
 which is a cross ; — the height of the whole is one hun- 
 dred and twenty-six feet from the pavement. The altar 
 is between the pedestals of the two front columns. The 
 structure is tasteless in the extreme. He executed the 
 tomb of Urban VIII. in the Tribune of St. Peter's; 
 the work is marred by some disagreeable details, but the 
 statue of the Pope is majestic and full of life. He also 
 executed the tomb of Alexander VII. in the north aisle 
 of the church, a disagreeable and theatrical performance. 
 The Cathedra Petri in the Tribune of St. Peter's is by 
 Bernini, — a bronze case enclosing the ancient episcopal 
 chair of St. Peter (so called). It is supported by gigantic 
 statues of St. Ambrose, St. Augustine, St. Athanasius, and 
 St. John Chrysostom. The pavement of St. Peter's is 
 from designs by Bernini and Giacomo deUa Porta. 
 
 For the chapel of S. Teresa, in S. Maria della Vit- 
 toria, he executed a group representing the saint in ec- 
 stasy, an angel about to shoot an arrow into her heart ; it 
 was much admired, but partakes strongly of the sensual 
 in character. In the nave of S. Giovanni in Laterano 
 are statues of the Apostles by the school of Bernini, — 
 " twelve distorted and dull colossi of the Apostles, imita- 
 tions of the attitudinizing giants of St. Peter's." Among
 
 1596.] GIOVANNI LORENZO BERNINI. 175 
 
 this artist's mythological sculptures is a Eape of Proser- 
 pine, iu the Villa Ludovisi ; a group which is ridiculous 
 and repulsiN'e in character. 
 
 Bernini's greatest work in architecture is the circular 
 colonnade of St. Peter's. M. Wey says of this construc- 
 tion : — 
 
 "This enormous fiintasy is the manifesto of a style 
 which subordinates utility to symmetry, and rules to 
 decorative effect; these two hundred and eighty-four col- 
 umns, which are strong enough to support the palaces of 
 Semiramis, support nothing at all ; they are placed there 
 for show ; they are the feet of two banqueting-tables set 
 for a congress of giants, on which are drawn up in a row 
 ninety-six statues of between three and four metres, which 
 from a distance cannot be distinguished, and which you 
 do not see any better when you are near. For that mat- 
 ter, no one looks at them ; and such is the fate of works 
 of art that are lavished out of place. 
 
 " We cannot deny that this colonnade, connecting itself 
 with the piazza by two curves of such amplitude, is an 
 imposing conception. It is still more so on paper; it 
 would have its effect if one could take a bird's-eye sur- 
 vey of the whole ; it would be too easy to show that this 
 plan is a theoretic expression, and that the ground fur- 
 nishes no point of view from which the whole spectacle 
 is to be obtained." 
 
 The Barberini Palace, commenced by Maderno, was fin- 
 ished by Bernini ; and the elaborate Fontana del Tritone 
 in the Pia/za Barberini is from his design. He con- 
 structed the chapel of S. Tere.sa in S. Maria della Vit- 
 toria, and the church of S. Bibiana was re])uilt by him 
 in 1025 ; he executed the statue of S. Bibiana, wliich 
 stands ]>y the high altar. In the church of S. Sebastiano,
 
 176 SCULPTORS OF THE RENAISSANCE. [i598. 
 
 on the Appian "Way, is a fine statue of St. Sebastian, mod- 
 elled by Bernini, but carved by another hand. 
 
 In 1665, at the invitation of Louis XIV., Bernini 
 travelled to Paris, accompanied by a numerous retinue ; 
 he executed there a few works in sculpture, but at the 
 end of eight months returned to Eome, where he was 
 welcomed with demonstrations of joy. 
 
 During his lifetime Bernini received rewards and ad- 
 miration in liberal measure, but his fame has grown less 
 with time. He himself acknowledged, near the close of 
 his life, that he had departed from the true principles of 
 sculpture, sacrificing the highest beauty to the merely 
 sensational, and destroying purity of design by excessive 
 ornamentation. His influence upon the art of his time 
 was most pernicious, for his style was eagerly followed. 
 
 Bernini was of striking personal appearance ; his coun- 
 tenance, which was very expressive, became terrible when 
 he was excited with anger. His temper was fiery, yet he 
 was generous in his allusions to the achievements of 
 others, and modest in referring to his own. His long life 
 was one of intense activity, and he produced a very large 
 number of works. He died in Eome in 1680, and was 
 buried with great pomp in S. Maria Maggiore. 
 
 ALESSANDRO ALGARDI. 
 
 A LESSANDRO ALGAEDI, ax Italian sculptor and 
 -lA. architect, was born at Bologna in 1598. He 
 studied first under Giulio Cesare Consenti, and after- 
 wards in the Academy of the Caracci. Later he went to 
 Venice, and thence to Eome, where he was employed
 
 1598.] ALESSAXDRO ALGAKDI. 177 
 
 in original works in sculpture, and in restoring mutilated 
 ■works of antiquity. He executed a statue of St. ]\Iag- 
 dalene for the church of S. Silvestro on the Quirinal, 
 which brought him great fame, and princes and cardi- 
 nals came to avail themselves of his talents. His most 
 celebrated work is the Flight of Attila, a bas-relief above 
 the altar of S. Leo in St. Peter's. It is vivid and pictu- 
 resque, if extravagant in style. ]\I. Wey says the work 
 is " a vii'tuoso's trick, and nothing more." A God of 
 Sleep, by Algartli, in the Borghese Villa, has frequently 
 been mistaken for an antique. His works show the pre- 
 vailing tendency of his time to an undue striving after 
 pathetic or picture.sc|ue effect. 
 
 Among Algardi's works in architecture is the beautiful 
 Villa Duria PamfilL 
 
 He died in Piome, in 16o4 
 
 JUAN MARTINEZ MONTANES. 
 
 JUAX MARTIXEZ ]\IOXTAXES was a talented 
 sculptor of Southern Spain, probably born in the 
 latter half of the sixteenth century. Little is known 
 of his life, and, though he left works of excellence, he is 
 more important as the founder of a school of sculpture 
 in liis native country. He combined great technical 
 knowledge of his art with graceful conception, and gi-eat 
 purity of style. In the chapel of S. Augu.stine in the 
 cathedral of Senile Is a Conception which ranks among 
 the noblest of his productions. Other works by Mon- 
 tanes are to be seen in the Museum of Seville. He died 
 in 1G14. 
 
 12
 
 178 SCULPTORS or THE RENAISSANCE. [15... 
 
 Alonzo Cano, (1601-1667) was one of the most im- 
 portant followers of Montaues, and produced works in 
 sculpture of great beauty and depth of expression, though 
 he is more celebrated as a painter. The greater part of 
 his sculptures are of wood, and some of them are of won- 
 derful perfection. They are to be seen at Seville, Gra- 
 nada, and Madrid. 
 
 Pedko Roldan, another eminent sculptor of the school 
 of Montanes, was born at Seville in 1624. He studied in 
 Eome also, and gained several prizes at the Academy of 
 St. Luke. After his return to Spain he labored at Seville 
 and at Madrid, where many of his works are to be seen. 
 Liibke says that with Roldan " Spanish sculpture as- 
 sumed a mannerism and exaggeration of style, although 
 his works are still pleasing by important ideas." He died 
 at Seville in 1700. 
 
 LuiSE EoLDAN, daughter of Pedro, was a sculptor of 
 considerable reputation. She was instructed by her 
 father, and assisted him in many of his works. She 
 was invited to Madrid by Philip IV., who gave her 
 various commissions, and assigned her a pension. She 
 died at Madrid in 1704. 
 
 FRANgOIS ANGUIER. 
 
 FRANgOIS ANGUIER was a celebrated French 
 sculptor, born at Eu, in Normandy, in 1604. He 
 was the son of a carpenter, and when very young learned 
 to carve in wood. A generous citizen of his native town, 
 observing the talent which his productions evinced, sent 
 him to Paris to study with Simon Guillain. He was so
 
 1601] FRANCOIS ANGUIER. 179 
 
 successful that he was able, a few years later, to go to 
 Eome to study. He made some copies of antique sculp- 
 ture, and produced many original works. He was much 
 patronized by his countrymen, and was regarded as one 
 of tlie most excellent sculptors of his age in France. 
 His works are remarkable for tmth and expression. His 
 finest work is the monument of Henry II. of Montmo- 
 rency, in the chapel of the College at Moulins. The 
 graceful figure of the deceased is scul])tured in the cos- 
 tume of a Pioman general. His monument of the Due 
 de Longueville, and that of the Due de liohau, are in the 
 Louvre. For the church of the Sorbonne he executed a 
 fine marble crucifix. He was appointed by Louis XIII. 
 keeper of his cabinet of antiquities, and occupied apart- 
 ments in the Louvre. 
 
 He d,ed at Paris in 1669. ^^-^-^-g ^^Q^^j^^^^ ^^^^^ 
 
 MICHEL ANGUIER. 
 
 MICHEL ANGUIER, brother of Fran(;;ois, was born 
 in 1G12, and enjoyed the same opportunities as 
 liis brother, in his youth learning to carve in wood. In 
 1641 he went to Eome and became the pupil of Algardi, 
 and assisted him in various works in St. Peter's, and in 
 the palaces of Eome. He lived in Eome for ten years, 
 and on his return to Paris assisted his brother in some of 
 his works. 
 
 In 1G53, Michel adorned the a])artmcnts of Queen 
 Anne of Austria in tlie I^ouvre. For the same fpieen he 
 executed the scul[»ture.s in the church of Val de Grace, 
 among which the Nativity, above the altar, is considered
 
 180 SCULPTORS OF THE RENAISSANCE. [i6i2. 
 
 his finest work. He executed the figure of the Christ in 
 the " Calvary " of the church of St. Eoch. A fine bust of 
 Colbert by him is in the Louvre. The last work of this 
 sculptor was the ornamentation of the Porte St. Denis 
 in Paris. This triumphal arch was erected to commem- 
 orate the victories of Louis XIV. in Holland and the dis- 
 trict of the Lower Ehine. It is adorned with statues and 
 bas-reliefs; the allegorical figures of Holland and the 
 Ehine are after the designs of Lebrun. This artist was 
 Professor in the Academy of Fine Arts at Paris. He 
 died in 1686. 
 
 PIERRE PUGET. 
 
 PIEEEE PUGET, or Pierre Paul Puget, a French 
 sculptor, architect, and painter, was born in Mar- 
 seilles in 1622. His father was a painter and archi- 
 tect, and gave him some instruction in these arts in his 
 early youth. At the age of fourteen he was placed with 
 a ship-builder to carve ornaments for the decoration of 
 ships. Growing weary of this employment, Puget left 
 Marseilles and went to Italy. There he met with kind- 
 ness and assistance, and was enabled to pursue the study 
 of art. He seems to have devoted himself at first chiefly 
 to painting, but later in life he renounced it entirely, and 
 practised sculpture and architecture exclusively. His 
 principal works are in sculpture, and in this department 
 his productions are numerous, and in the artist's lifetime 
 were so much admired as to gain for him the title of the 
 " French Michael Angelo." 
 
 Puget labored at Genoa, Toulon, Aix, Paris, and Mar- 
 seilles, but finally fixed his abode in the last-named city,
 
 1622.] riElUlE PUGET. 181 
 
 where he lived in solitude, following out the suggestions 
 of his own genius. 
 
 The works of this sculptor are censured as exaggerated 
 in stvle and wanting in refinement, and also as inaccu- 
 rate in proportions. He was possessed of remarkable 
 originality and power, but he Mas eccentric, and wanting 
 in the true fueling for beauty. Many of Ms faults might 
 have been remedied by study and reflection ; but his 
 early education was careless and inadequate, in art as in 
 letters, and this was never atoned for. In the expres- 
 sion of life and action, and even passion, he sometimes 
 exhibited great power; but wanting the highest beauty, 
 his productions fail to please. 
 
 The Milo of Crotona, now in the Louvre, is considered 
 his master-piece ; and by some admirers, the master-piece 
 of French sculpture. It is repulsive from the character of 
 the subject, but it is full of energetic life, and remarkable 
 in expression. Somewhat more pleasing and picturesque 
 is the large group of Perseus liberating Andromeda. 
 Alexander and Diogenes, a large and very picturesque 
 bas-relief, was his last work. Viardot says: "This sculp- 
 tured picture is an extraordinary feat, and I own that 
 its very strangeness makes its author near akin to j\Ii- 
 chael Angelo." Both the last-named works are in the 
 Louvre. 
 
 In painting Puget executed works in various churches 
 
 and cathedrals in France ; in architecture he designed 
 
 several edifices in Genoa ; in Marseilles he designed the 
 
 (•Imrch of the Capuchins and the figlise de la Charite. 
 
 •He died in 16'J4
 
 182 SCULPTORS OF THE RENAISSANCE. [i630. 
 
 CAIUS GABRIEL GIBBER. 
 
 CAIUS GABKIEL CIBBEE, or CIBERT, a success- 
 ful sculptor in England, was the son of a Dane, 
 cabinet-maker to the king of Denmark, born in Flens- 
 burg, in the Duchy of Holstein, in 1630, But little is 
 known of his early history, except that in his youth he 
 showed so marked a talent for sculpture that he attracted 
 the attention of the king, who sent him to Eome to study. 
 About 1660, Gibber became a resident of London, where 
 he soon received much encouragement and patronage. In 
 the early part of his career, he manifested a fondness 
 for classic subjects, which were for a time admired ; but 
 to his later works in a different department, he owes his 
 reputation as a sculptor of original power. He was 
 employed by the government in various public works ; 
 executing statues of several monarchs, and also a variety 
 of decorative works, such as fountains, garden vases, and 
 other landscape ornaments. He seems to have been es- 
 teemed by Sir Christopher Wren, who employed him to 
 carve the Phoenix above the south portal of St. Paul's. 
 
 Gibber was employed, in the maturity of his powers, in 
 the sculptured decorations at Ghatsworth. The beautiful 
 statues representing Faith and Hope, that stand at either 
 side of the altar-piece in the chapel, are his ; he executed 
 there, besides, several mythological figures. His most 
 celebrated work was executed for the Bethlehem Hospital 
 in London, — two figures representing Eaving and Melan- 
 choly Madness. Painful as the subject is, these figures 
 are remarkable for both pathos and poetry. They are 
 now in the South Kensington Museum. 
 
 The sculptor was the father of Golley Gibber, the 
 dramatist. He died in London in 1700.
 
 iMO] CHARLES ANTOIXE COYSEVOX. 183 
 
 CHARLES ANTOINE COYSEVOX. 
 
 CHAULES AXTOTXE COYSEVOX was an able 
 Freuch sculptor, born at Lyons in 1640. He studied 
 in Paris, and early became distinguished as an artist. 
 His style was bold and picturesque, and in his best period 
 he produced works of considerable excellence. One of 
 his principal works is the mausoleum of Cardinal ^Mazarin, 
 now in the Lou\Te. It is excellent in design and in some 
 parts displays much power. The kneeling figure of the 
 Cardinal is noble and dignified ; there are two attendant 
 figures, in marble, representing Charity and Religion, and 
 upon the steps of the monument are seated figures of,. 
 Prudence, Fidelity, and Peace. In the same gallery are 
 busts of Eichelieu, Bossuet, Lebrun, and Mignard, by 
 Coysevox. The two fine groups of Fame and ]\Iercury 
 on M'inged steeds, at the entrance to the gardens of the 
 Tuileries from the Place de la Concorde, are the work 
 of this sculptor. He died in 1715. 
 
 Another artist of some eminence who flourished at the 
 same period was Francois Girardon (1628-1715). He 
 was a rival of Coysevox. In the gardens at Versailles is 
 a Kape of Proserpine by Girardon, which calls to mind 
 the exaggerated style of Bernini. In the church of the 
 Sorbonne is his monument of Cardinal Richelieu. 
 
 Nicholas Cou.stou (1658-1733) was a nephew and 
 pupil of Coy.sevox, w'hose best works are to be seen in the 
 gallery of the Louvre. Guillaume Coustou, brother of 
 the la.st named (1 678-1746), was the author of the two 
 Horse-tamers at the entrance to the Champs Elys(;es ; 
 they were formerly in tlie garden of the palace at Marly, 
 but were removed to their present position in 1795. 
 
 ^'
 
 184 SCULPTORS OF THE RENAISSANCE. [i645. 
 
 CORNELIUS VAN CLEVES. 
 
 CORNELIUS VAN CLEVES, or Coeneille van 
 Cleves, was a sculptor of considerable eminence, 
 born in Paris in 1645. His family were originally from 
 Flanders. He first studied in the school of Anguier, 
 where he made such progress as to become the assistant 
 of his master in some of his important works. In 1671 
 he gained the Grand Prize of the Academy, entitling him 
 to the royal pension, when he went to Eome for study, 
 remaining six years. After his return to Paris he became 
 a member of the Academy, executing for his reception 
 piece Polyphemus on the Eock, which is now in the 
 Louvre. 
 
 Van Cleves labored successfully at his art at Paris, at 
 Versailles, and at Marly. He was a careful and pains- 
 taking artist ; often dissatisfied with his achievements, 
 he would destroy his models and commence anew ; but, 
 laboring with uncommon industry, he produced a large 
 number of works. Many of Ids sculptures have been 
 engraved. He died in 1732. 
 
 GRINLING GIBBONS. 
 
 aPJNLING GIBBONS was born about 1650, in 
 London according to some authorities ; according to 
 others, in Rotterdam. If he were a Hollander by birth, 
 he probably went to London at an early age. He is dis- 
 tinguished as the first sculptor of eminence in Great 
 Britain, He commenced carving in wood, and his finest
 
 166a] GRIXLIXG GIBBONS. 185 
 
 works were executed in this material. His earliest pro- 
 ductions were much admired, but these have all disap- 
 peared, or are now unknown. His talents attracted the 
 attention of King Charles II., who appointed him one of 
 tlie coimnissionei-s of public works, and employed him in 
 the embellishments at Windsor Castle. The carvings in 
 the Waterloo Chamber and those in the State Anteroom 
 are by Gibbons. 
 
 For the palace at Chatsworth he designed and executed 
 most elaborate and elegant wood-carving, consisting of 
 flowers, foliage, and birds of marvellous trutli to nature. 
 The decorations of the chapel at Chatsworth, attributed 
 to Gibbons, are among the most exquisite productions in 
 this branch of art. There is much dispute as to the 
 authorsliip of these works, as the name of Grinling Gib- 
 bons does not appear in the records of Chatsworth, but 
 the decorations of the chapel are attributed, on apparently 
 good grounds, to this gifted and skilful artist. He also 
 decorated a room at Petworth. 
 
 The beautiful wood-carving of the choir of St. Paul's 
 in London is the work of Gibbons ; and for St. James's 
 Church he executed the foliage which adorns the altar. 
 The font of St. James is among his few works in mar- 
 ble. 
 
 Horace "Walpole says : " There is no instance of a man 
 before Gibbons who gave to wood the loose and airy 
 lightness of flowers." His talent for composition seems 
 not to have equalled his skill in execution. He died in 
 1721.
 
 186 SCiLpTORS or THE RENAISSANCE. [i662. 
 
 ANDREAS SCHLUTER. 
 
 ANDEEAS SCHLUTER, or Schlueter, an eminent 
 German sculptor and architect, was born at Ham- 
 burg about 1662, His productions in both departments 
 are considered among the most excellent of his time. 
 His father, who was an indifferent sculptor, took him to 
 Dantzic when quite young, and while living there he 
 probably acquired the elements of his art ; he, however, 
 completed his studies in Italy. 
 
 In 1694 Schliiter was summoned to Berlin and intrusted 
 with various important works, and appointed court archi- 
 tect and sculptor. Among his productions in sculpture 
 are the decorations of the Arsenal there, which are espe- 
 cially rich and beautiful This is a massive structure 
 with a quadrangular court, built by the architect IsTehring. 
 The facade and the top of the structure are ornamented 
 with groups of arms and military trophies. Above the 
 windows of the inner court are heads of dying warriors, 
 carved in stone; these are full of thrilling sentiment. 
 Placed in the midst of this magnificent display of the 
 trappings of war, they impart to the whole a profound 
 pathos and reality. 
 
 The Royal Palace of Berlin was finished in its present 
 form by Schliiter, and some of its interior decorations are 
 by him. The Palace of Charlottenburg was also built by 
 Schliiter. 
 
 His principal work in sculpture is the equestrian 
 statue of the Great Elector, Frederick William, which 
 adorns the Kurfiirsten Brlicke in Berlin. The hero sits 
 in an easy, majestic attitude, though cumbered with much 
 drapery, upon a proudly stepping horse ; at the base of
 
 1662.] ANDREAS SCHLUTER. 187 
 
 the pedestal are the figures of four chained slaves. The 
 calmness and dignity of bearing iu the rider, and the 
 sense of quiet, steady movement in the noble charger, 
 impart a peculiar fascination to this work. 
 
 In the most successful period of his labors misfortune 
 overtook the artist. In raising an old tower to a greater 
 height for the purpose of introducing a chime of bells, he 
 was supposed to have committed some fault of construc- 
 tion which necessitated the pulling down of the structure, 
 and he was consequently dismissed from his position as 
 architect, though retaining that of court sculptor. The 
 bitterness of this reproach broke his spirit. 
 
 In 1713 Schliiter was invited to St. Petersburg by 
 Peter the Great, and was commissioned w'ith the execu- 
 tion of various architectural works ; but he died there 
 in the following year, 1714. 
 
 RENE FREMIN. 
 
 REXli) FPiIilMIN, a sculptor of some eminence, was 
 born at Paris in 1673. He first studied art in his 
 native city, and then went to Pome for a time. After 
 his return to Paris he found employment in the decora- 
 tion of churches and other edifices. 
 
 At the time when Philip V. of Spain was occupied 
 with the improvements at S. Ildefonso, he invited Fre- 
 min, among otlier artists, to Spain, where he remained 
 for several years ; lie returned to his native country 
 loaded witli honors and witli riches. 
 
 Freniin is one of the jjriucipal representatives of the 
 softly elegant style of sculpture which prevailed iu
 
 188 SCULPTORS OF THE RENAISSANCE. [1673. 
 
 France in the seventeenth century. He succeeded best in 
 works of a light and playful character, displaying a soft 
 and graceful, but superficial beauty. He died in 1744. 
 
 PIETER SCHEEMAKERS. 
 
 PIETER SCHEEMAKEES was born at Antwerp 
 in 1691. He studied art under his father, and was 
 also a pupil of Laurent Delvaux. He afterwards went 
 to Eome for study, and from there proceeded to Eng- 
 land, where he met with considerable patronage. After a 
 few years he again visited Eome, returning to England 
 in 1735, after which time he produced his most important 
 works. Among these the monuments to Shakespeare and 
 Dryden, in Westminster Abbey, are to be especially noted.* 
 He executed various portrait busts and statues of some 
 excellence. A small copy of the Laocoon which he made 
 was much admired, and casts of it have been multiplied. 
 His original works are marked by vigor of effect, and his 
 execution was admirable. 
 
 It is said that Scheemakers returned to his native city, 
 Antwerp, in 1770, where he died not long after. 
 
 LAURENT DELVAUX. 
 
 LAUEENT DELVAUX was born at Ghent in 1695. 
 After acquiring the elements of sculpture in his 
 own country he went to Eome, where he remained for 
 
 * The elaborate monument of Hugh Chamberlain in the same church 
 "is the joint work of Scheemakers and his master, Delvaux.
 
 1695] LAURENT DELVAUX. 189 
 
 many years in the successful practice of his art. After 
 his return to Flandei-s he executed a large number of 
 works, which entitle him to a distinguished position 
 among the sculptors of his time. 
 
 Among the principal works of Delvaux may be men- 
 tioned his sculptures in the cathedral at Ghent. The 
 carved pulpit of oak and marble is one of his finest pro- 
 ductions ; it represents the Tree of Life. His statue of 
 Hercides is in the Ducal Palace at Brussels. 
 
 Delvaux's works are more remarkable for vigor of con- 
 ception than for giuce and finish. He died in 1778. 
 
 LOUIS FRAN9OIS ROUBILIAC. 
 
 LOUIS FRAXgOIS EOUBILTAC, or Eoubillac, 
 was an eminent French sculptor, born at Lyons 
 about 1G95. He was educated in art by Balthazar of 
 Dresden. "While still young he went to England, where 
 a large part of his life was passed, and where liis best 
 works were produced. 
 
 Among his principal works is the monument to Mrs. 
 Nightingale in Westminster Abbey. Death is represented 
 as a skeleton, aiming his dart at the lady, who sinks in 
 terror into her husband's arms. Cunningham says : 
 " Those who are not pleased with the natural pathos of 
 one part are captivated by the allegorical extravagance 
 of another ; and persons who care for none of these mat- 
 ters find enough to admire in the difficult workmanship 
 of the marble skeleton." 
 
 The moimment to the memoiy of John, Duke of Ar- 
 gyle, in "Westminster Abbey, is also a celebrated work.
 
 190 SCULPTORS OF THE RENAISSANCE. [i695. 
 
 This elaborate composition represents the hero expiring 
 at the foot of a pyramid, upon which the Muse of History- 
 is inscribing his name ; Minerva is mournfully looking 
 on, and a figure of Eloquence, in vehement action, seems 
 pouring forth her lamentations. This figure is character- 
 ized by Walpole as " masterly and graceful," and it is said 
 to have been admired by Canova. His monument to Sir 
 Peter Warren, also in Westminster Abbey, is remarkable 
 for a fine statue of Navigation. 
 
 Eoubiliac's last work was the monument of Handel, in 
 the Poet's Corner in Westminster Abbey. It is a some- 
 what fantastic attempt to represent the great composer 
 in one of his moments of inspiration. The musician is 
 represented listening intently, while a hand is touching a 
 lyre in the clouds above. It is said the sculptor thought 
 that an ear so fine and sensitive as that of the musician 
 should be represented in marble as small and delicate, 
 and, accordingly, modelled Handel's from the ear of a 
 young lady, the daughter of one of his friends. 
 
 Eoubiliac had no admiration for antique scvilpture, but 
 preferred to all others the works of Bernini. He was a 
 conscientious and painstaking sculptor, laboring with pa- 
 tience to overcome difficulties, and finishing his works 
 with great care and minuteness. They are, however, 
 wanting in dignity and simplicity, and, though sometimes 
 poetic in conception, they never exhibit the highest spir- 
 itual beauty. Flaxman said : " Eoubiliac was an enthu- 
 siast in his art ; possessed of considerable talents, he cop- 
 ied vulgar nature with zeal, and some of his figures seem 
 alive ; but their characters are mean, their expressions 
 grimace, and their forms frequently bad ; his draperies 
 are worked with great diligence and labor from the most 
 disagreeable examples in nature, the folds being either
 
 ie9&] LOUIS FRANCOIS ROUBILIAC 191 
 
 heavy or meagre, frequently without a determined general 
 form, and hung on his figures with little meaning. He 
 grouped two figures together, for he never attempted 
 more, better than most of his contemporaries ; but his 
 thoughts are conceits, and his compositions epigrams." 
 Eoubiliac died in 1762. 
 
 EDME BOUCHARDON. 
 
 EDMfi BOUCHARDOX, a French sculptor, was born 
 in 1G9S. He was a pupil of the younger Coustou, 
 and is remarkable as being of a quiet, conservative taste, 
 and opposed to the extravagant and artificial style of his 
 time. In the church of St. Sulpice in Paris are statues 
 of the Apostles by Boucbardon, which are worthy of men- 
 tion. In the Louvre is a group of Cupid and Psyche, 
 which is much admired. Pysche is represented softly 
 approaching the sleeping Cupid with the fatal lamp in 
 her hand. In the same gallery is a Victorious Cupid, 
 which is a fine work. 
 
 Viardot says of this sculptor : " "Well educated, con- 
 scientious, and of quiet appearance, he avoided pomp, 
 and lived in solitude, because, enamored as he was of the 
 antique, the absurdity of the fashionable costumes was 
 repugnant to his taste and predilections. His style, cor- 
 rect and noble, but somewhat cold, needed only a few 
 sparks of Puget's fiery enthusiasm to give it animation. 
 .... To understand to what extent this eminent artist 
 loved and understood true beauty, in this age of the in- 
 sipid shepherdesses of Boucher and his fellows, we liave 
 only to examine the Young Girl, holding a stag by a cord,
 
 192 SCULPTORS OE THE RENAISSANCE. [i698. 
 
 in the Louvre. The soft and pleasing attitude, the grace- 
 ful form, the head, which is more than beautiful, almost 
 grand, and the delicacy of the execution, combine to ren- 
 der this charming statue the most antique of modern 
 works." 
 
 Bouchardon died in 1762. 
 
 LAMBERT SIGISBERT ADAM. 
 
 LAMBERT SIGISBERT ADAM, a celebrated French 
 sculptor, was born at Nancy in 1700. His father 
 was a sculptor, and from him he learned the elements of 
 his art. He went, however, when quite young, to Paris, 
 where he became a student in the Academy of Fine Arts, 
 and at the age of twenty-three gained the prize which 
 enabled him to study in Rome. He remained there 
 for many years, devoting himself with assiduity to the 
 study of the antique, and gaining much distinction as 
 a sculptor. Many of the mutilated remains of ancient 
 sculpture were intrusted to him for restoration, and he 
 executed besides a number of original works. 
 
 Adam afterwards labored in Paris, where he enjoyed a 
 high degree of popularity. Among his works executed in 
 France are the statues of the Seine and the Marne which 
 adorn La Haute and La Basse cascades at St. Cloud. At 
 Versailles he executed various sculptures for the royal 
 gardens. 
 
 In 1744 Adam was appointed Professor of Sculpture in 
 the Academy of Fine Arts at Paris ; he was a member of 
 the Academies of St. Luke at Rome, and of St. Clement 
 at Bologna. He died in 1759.
 
 not] JEAN BAPTISTE LE MOYNE. 193 
 
 JEAN BAPTISTE LE MOYNE. 
 
 JEAX BAPTISTE LE MOYXE, a French sculptor of 
 emiueuce in his day, was born in Paris in 1704. He 
 was the son and pupil of Jean Louis Le ^loyne (1665- 
 1755), a sculptor of considerable reputation. He studied 
 also under Eobert le Lorrain (1666-17-13) of Paris, Pro- 
 fessor of Sculpture in the Academy of Fine Arts. 
 
 At the age of twenty Le Moyne gained the Grand Prize 
 of the Academy, which entitled him to the royal pension, 
 but he did not avail himself of the opportunity to go to 
 Ifome for study. He had no admiration for the purity 
 and simplicity of antique sculpture ; his taste was for a 
 more passionate and declamatory style. His works are 
 theatrical in design, though he excelled in mechanical ex- 
 ecution. His productions consist chiefly of portrait stat- 
 ues and religious subjects. He died at Paris in 1778. 
 
 NICHOLAS SEBASTIEN ADAM. 
 
 NICHOLAS SEBASTIEX ADAM, a talented French 
 sculptor, was born at Nancy in 1705. He was a 
 brother of Lambert Sigisbert Adam, and in the higlier 
 qualitiefs of his art was thought to surpass that artist. 
 He wa-s educated in art at Paris and Pome, gaining a high 
 reputation, and, like his brother, was employed in the 
 restoration of various antique works. After a residence 
 of nine years in Pome he returned to Paris. The work 
 which is considered liis masterpiece is tlie inonunient of 
 tlie Queen of Poland in the church of Bon Secours, in 
 
 13
 
 194 SCULPTORS OF THE RENAISSANCE. [no5. 
 
 St. Pierre, a suburb of ISTancy. Another admired work is 
 his Prometheus, in the Louvre. For the royal chapel at 
 Versailles he executed a bronze relief representing the 
 Martyrdom of St. Victoria. He was appointed Professor 
 of Sculpture in the Academy at Paris. He died in 1778. 
 
 Gaspard Adam, a younger brother, was also a sculptor 
 of some merit. 
 
 JEAN BAPTISTS PIGALLE. 
 
 JEAN" BAPTISTE PIGALLE, one of the most cele- 
 brated French sculptors of the eighteenth century, 
 was born at Paris in 1714. He was the son of a carpen- 
 ter, but, having a taste for art, he became a pupil in the 
 studio of the sculptor Jlobert le Lorrain. After studying 
 under different teachers in Paris he went to Eome, where 
 he studied for three years. After his return to Paris his 
 works brought him into marked notice, and he was soon 
 extensively patronized. He was a most persevering 
 worker, and his reputation may be considered as fairly 
 earned. His early style is remarkable for its ideal beauty, 
 but later he seems to have adhered more closely to actual 
 nature. By some he has been charged with a servile im- 
 itation of nature. 
 
 Pigalle's masterpiece is the monument erected by 
 Louis XV. to the memory of Marshal Saxe, in the church 
 of St. Thomas at Strasburg. The work is of marble, and 
 fills one side of the choir. It is pervaded by a singularly 
 touching sentiment, and proves its author to have a pe- 
 culiar gift of conception and much power in dealing with 
 the pathetic. The Marshal, a figure of noble and elegant 
 bearing crowned with laurel, is represented descending
 
 1714.] JEAN BAPTISTS P1G.U.LE. 195 
 
 some steps, which, unperceived by him, lead to an open 
 tomb. As he cahnly advances, a sympathizing female 
 figure personating France is endeavoring to restrain him 
 and avert the doom of death. A weeping Genius bears an 
 inverted torch, a mourning Hercules is at one side, and 
 the terrible figure of Death waits by the open coffin. At 
 the l^ft are the Austrian eagle, the Dutch leopard, and the 
 English lion, with broken fiags below them in allusion to 
 the Marshal's ^'ictories over these powers. Some of the 
 accessories detract from the dignity of the composition, 
 but it is truly picturesque, and the figure of the hero of 
 Fontenoy is justly admired. The work has been several 
 times engraved. 
 
 His principal work at Paris is the tomb of IMarshal 
 Harcourt, composed in accordance with a dream of the 
 hero's widow, erected in one of the chapels of Notre Dame. 
 In the library of the Institute of France is a nude statue 
 of Voltaire by Pigalle. 
 
 A statue of Venus by him is to be seen in the gar- 
 den of Sanssouci, at Potsdam, one of twelve figures sur- 
 rounding the basin of the great fountain, and considered 
 the finest of them all. 
 
 Pigalle was much honored in his profession; in 1744 
 he was elected a member of the Academy of Fine Arts, of 
 which he became successively Assistant Professor, Pro- 
 fessor, Assistant Piector, Pector, and Chancellor. He also 
 received the Cordon of St. Michael. He died in 1785.
 
 196 SCULPTORS OF THE RENAISSANCE. [1722. 
 
 JOSEPH WILTON. 
 
 JOSEPH WILTON, eminent among English sculptors, 
 was born in London in 1722. He was the son of a 
 stucco- worker who gained a considerable fortune by the 
 manufacture of ornaments for ceilings and other decora- 
 tions. With a natural inclination for sculpture he was 
 provided with the means for instruction ; his first teacher 
 in art was Laurent Delvaux, and at the age of twenty- 
 three he went to Paris and studied in the Academy of 
 Eine Arts under the direction of Pigalle. He met with 
 considerable success in France, and after learning to work 
 in marble he proceeded to Eome, where he remained for 
 eight years, executing various copies from the antique. 
 His education in art was thorough, and he was awarded 
 the Jubilee Gold Medal at the Academy of St. Luke in 
 1750. Among his own countrymen he found admirers 
 and generous patrons. After his return to London he 
 was made one of the directors of a school of art founded 
 by the Duke of Richmond. Later he was appointed 
 coach-carver to the King. 
 
 Wilton's first work of importance in sculpture after his 
 return to England was the monument to General Wolfe 
 in Westminster Abbey. The work has been both praised 
 and ridiculed. It is probably a fair example of his 
 powers of conception and skill in execution. The com- 
 position is crowded, and rather commonplace in character. 
 The daring march to the Heights of Abraham is repre- 
 sented in bas-relief, and is a vivid picture of the mem- 
 orable scene ; but this is the work of another hand, that 
 of Capizzoldi, an Italian sculptor. 
 
 Wilton executed other monumental works in England,
 
 1722.] JOSEPH WILTON. 197 
 
 and was the author of various portrait busts. He was one 
 of the founders of the Royal Academy, and for some time 
 fiUed the oihce of Keeper of the institution. He died in 
 1803. 
 
 AUGUSTIN PAJOU. 
 
 AUGUSTIX PAJOU, a celebrated French sculptor, 
 was born at Paris in 1730. His decided talent for 
 sculpture led to his being placed, at a very early age, in 
 the school of Le Moyne. He made such progress that 
 at the age of eighteen he won the Grand Prize of the 
 Academy, wliich enabled him, as a royal pensioner, to 
 study in Piome. He lived in liome for twelve years, and 
 on returning to Paris his reputation was quickly estab- 
 lished, and he was extensively employed. His style was 
 natural and his execution was good, and he so far sur- 
 passed the sculptors of the preceding generation that he 
 enjoyed, in his time, a great celebrity. 
 
 In 1767 he was appointed Professor of Sculpture in 
 the Academy of Fine Arts, in Paris, and was made a 
 member of the Institute during the rule of Napoleon. 
 
 I'ajou executed the sculptures of the facade of the 
 Palais lioyal, and the sculptured ornaments of the Opera 
 House at Vereailles. He executed some of the ornaments 
 of the cathedral of Orleans. 
 
 Among the portrait statues by Pajou are those of 
 Pa.scal, Descartes, Fenelon, Possuct, Turenne, and Puflbn. 
 In sculptured likeness he was very successful. Among 
 his mythological works is a figure of Psyche, in the gal- 
 lery of the louvre, but it is an ungraceful production. 
 
 Pajou died in Paris, in 1809.
 
 198 SCULPTORS OF THE RENAISSANCE. [1735. 
 
 THOMAS BANKS. 
 
 THOMAS BANKS, an eminent English sculptor, was 
 born at Lambeth in 1735. His father, who was an 
 architect, instructed him in drawing and in the principles 
 of architecture. He was afterwards apprenticed to a 
 landscape gardener and architect, but his imaginative 
 nature led him to abandon these pursuits for the more 
 congenial one of sculpture. His early instruction and 
 practice, however, proved of advantage to him in his 
 chosen profession, displaying itself in the beauty and 
 propriety of his architectural forms. In 1770 he gained 
 the prize of the Eoyal Academy for a bas-relief of the 
 Eape of Proserpine, which enabled him to go to Rome to 
 study. He remained there seven years, making diligent 
 use of his time and opportunities. He studied nature 
 faithfully, and further improved his style by copying the 
 remains of antique art. The works of Michael Angelo 
 in the Sistine Chapel stimulated him to uutiring efforts 
 to reach a higher standard of excellence, and some of his 
 productions exhibit the effect of his study of the master 
 works of that artist. 
 
 Banks excelled in works of a purely ideal character, 
 and it is only in these that his powers can be fairly 
 estimated. In subjects of a prosaic and practical char- 
 acter he fell below other artists of his time, sometimes 
 producing incongruous combinations of the real and the 
 fanciful; but his best works entitle him to grateful regard 
 for the influence which they exerted in introducing a 
 pure style of art. His lofty imagination and his refined 
 style, cultivated by devoted study of the best models, 
 fitted him for the attainment of great things ; but he did
 
 1735] THOMAS BANKS. 199 
 
 not receive the patronage and encouragement which he 
 merited, and that would have stimulated him to the high- 
 est endeavor. His finest conceptions were never executed 
 in marble, and some of the highest inspirations of his 
 genius are to be found in his sketches. 
 
 A monument to ]\Irs. Petree, in Lewisham Church, 
 Kent, a large bas-relief, is of especial merit. It represents 
 the dying mother supported by Faith, and attended by 
 Hope and Charity, while the son sits by absorbed in his 
 natural grief. A monument to the daughter of Sir Brook 
 Boothby at Ashbourne, in Derbyshire, representing a 
 young girl sleeping, is a work of touching beauty. 
 
 His Caractacus before Claudius is esteemed one of his 
 masterpieces. Caractacus stands iu an undaunted atti- 
 tude before the Emperor, who listens with apparent 
 respect to the words of the patriot. This group is at 
 Stowe. 
 
 Among his latest works are the monument to Sir 
 Eyre Coote in Westminster Abbey, and the national 
 monument to Captains Burgess and Westcott, in St. Paul's 
 Cathedral. 
 
 In his professional career. Banks was active, faithful 
 and just; he did not overestimate his own merits, or 
 underestimate those of his associates. As a master he 
 was kind and gentle, and freely gave advice and assist- 
 ance to those who wished to improve. His judgment 
 and integrity secured the confidence of those with whom 
 lie was connected in public, and he was alike honorable 
 in all the private relations of life. He died iu 1805.
 
 200 SCULPTORS OE THE RENAISSANCE. [i736. 
 
 FRANgOIS LUCAS. 
 
 FKAN(^OIS LUCAS, a sculi^tor of some importance 
 in modern art, was born at Toulouse in 1736. He 
 was the son of a sculptor, — one of the founders of the 
 Academy of Art in Toulouse, — and was instructed in the 
 elements of art by his father. In 1761 he gained the 
 Grand Prize of the Academy. A few years later he was 
 appointed Professor of Sculpture. His feeling for art led 
 him to choose figures from the antique to be used as 
 models by his pupils, in place of the works of modern 
 sculptors. He visited Rome for improvement, and made 
 a fine collection of antiquities. Some of his best works 
 are to be seen at Toulouse. He died in 1813. 
 
 JOSEPH NOLLEKENS. 
 
 JOSEPH NOLLEKENS was born in London in 1737. 
 His father was a native of Antwerp, and a painter 
 of some note ; his mother was a Frenchwoman. His 
 early training and education were very deficient. His 
 father died when he was a young lad, and his mother 
 formed a hasty second marriage, which circumstances 
 introduced him to real life before he was well prepared 
 for it. Having a great fondness for drawing and model- 
 ling, he was, in his thirteenth year, placed with Schee- 
 makers to learn sculpture. He was devoted to his work, 
 and made good progress, winning several prizes from the 
 Society of Arts. Laboring with diligence and economy 
 for many years, he laid the foundation of future success.
 
 1737.] JOSEPH XOLLEKEXS. 201 
 
 In 1760 he was able to go to Piome, where he remained 
 for many years, producing works which brought him 
 fame and money. After his return to London he was 
 extensively patronized by his countrpnen, and became a 
 great favorite with the king, George III. He was much 
 employed in portrait sculpture, and in tliis branch of art 
 he achieved his highest success. He was employed in 
 the erection of various monumental works, and occasion- 
 ally essayed mythological subjects, but these M-ere not 
 marked by any real elevation of sentiment. The sculptor 
 himself had an enthusiastic fondness for the goddesses 
 which he created, laboring upon one of his Venuses, it 
 is said, at intervals for twenty years. In 1772 he M-as 
 elected a member of the Royal Academy, and through all 
 liis professional career maintained a high position among 
 British artists. He was very eccentric in character, and 
 was somewhat noted for his parsimony. The habits of 
 strict economy which he formed while pursuing his stud- 
 ies clung to him in his later years, and he was proud of 
 what he considered his extraordinary prudence, though to 
 others it savored of meanness, and even dishonesty. 
 
 His wife brought him a handsome fortune, and to his 
 household a shrewdness and economy which exceeded his 
 own. After the deatli of his wife the sculptor lived more 
 generously, and entertained his friends with more freedom. 
 He seems, also, to have taken pleasure in bestowing his 
 m«jney in charity, and esi)ecially in assisting needy artists. 
 Though unpoli.shed and illiterate, he was a good listener, 
 and enjoyed the friendship of some of the most eminent 
 men and women of his time. 
 
 It has been said that Xollekens had a feeling of con- 
 tempt for art, except as a means of acquiring wealth; but 
 whatever may have been his faults and deficiencies, his
 
 .202 SCULPTOHS OF THE RENAISSANCE. [I7ff?. 
 
 life and works prove that his love for art was sincere. 
 His last visit to the Eoyal Academy is thus described by 
 Allan Cunningham : " Having expressed a wish to Chan- 
 trey, whom he admired and loved, to see the exhibition 
 of painting and sculpture, he was carried up stairs in a 
 kind of sedan, and, with his friend at his elbow, sat for a 
 time looking round him. He then fixed his eye on some 
 work which pleased him, muttered a few almost inaudible 
 words, moved with his body in the direction of his object, 
 and made a sign when he was placed in the right point of 
 view. His power of expressing what he felt was never 
 strong, — it was less than ever now, — but his good taste 
 was in full vigor, for he caused himself to be placed before 
 all the best paintings, and his remarks went at once to their 
 chief merits. Chantrey afterwards said, that his observa- 
 tions were judicious, and penetrated to the sentiment and 
 meaning of the scenes and groups. When he was borne 
 to his coach, he gave the persons who helped him a 
 guinea each, — put his hand to his hat, and bade farewell 
 forever to the Eoyal Academy. He was then eighty-two 
 years old." 
 
 Nollekens died in 1823. 
 
 Several monuments by this sculptor are in Westmin- 
 ster Abbey ; — a monument to three naval officers, in the 
 north transept ; that of Bishop John Thomas, in the south 
 aisle ; and a medallion of Goldsmith, in the Poet's Cor- 
 ner. His bust of Mr. Townley is in the entrance hall of 
 the British Museum,
 
 174a] JOHN BACON. 203 
 
 JOHN BACON. 
 
 JOHX BACOX, a distinguislied English sculptor, was 
 lioin in Southwark in 1740. At about the age of 
 tifteen, he was apprenticed to a china manufacturer at 
 Lambeth, where he was employed in painting upon the 
 ware ; but he soon displayed so much talent for modelling 
 that he came to be employed exclusively in that branch 
 of art. At the age of twenty-three lie began to work 
 in marble, producing various mythological works which 
 brought him considerable fame. Later in his career he was 
 more occupied in the execution of statues and busts. 
 Some of Bacon's works are higlily praised, though he was 
 somewliat deficient in imagination, and in a true feeling 
 for beauty. His finest work is the monument to the Earl 
 of Chatham in Westminster Abbey. He executed also 
 the monuments of John Howard, the philanthropist, and 
 of Dr. Johnson, in St. Paul's. In the chapel of Grey's 
 Hospital is a memorial statue of the founder, Thomas 
 Clrey^ by Bacon, which is considered a work of excellence. 
 For All-Souls' College, Oxford, he executed a statue of 
 Judge Blackstone. 
 
 Bacon was elected a member of the Eoyal Academy in 
 1778. He died in London in 1799. 
 
 JEAN ANTOINE HOUDON. 
 
 JEAN ANTUIXE JIUUDOX was an eminent Frencli 
 sculj)tor, l)orn at Versailles in 1741. He first went to 
 Paris and studied in tlie Academy of Fine Arts, and about 
 1700 he gained tlie Grand Prize for sculi)ture, and went to
 
 204 SCULPTORS OF THE RENAISSANCE. [mi. 
 
 Eome for study. He remained there for ten years, and 
 then returned to Paris, where he soon gained a reputation. 
 
 Among his best works are the statue of Voltaire, and 
 the bust of Moliere, in the Theatre Frangais in Paris. 
 Viardot says that in these " Houdon has showed how the 
 ideal may be combined with the real, the quickening 
 spirit with the body it animates." 
 
 In the gallery of the Louvre are a number of his pro- 
 ductions ; among them, a spirited bust of Jean Jacques 
 Ptousseau, and a statue of the goddess Diana, in bronze, 
 the latter excellent in execution, though somewhat heavy, 
 and more in the character of Venus than of the agile 
 huntress. Houdon executed busts of Napoleon, Josephine, 
 Marshal Ney, and other celebrated personages, remarkable 
 for truth and spirit. 
 
 About 1785 Houdon visited America at the solicitation 
 of Franklin and Jefferson, and while here was commis- 
 sioned to execute a statue of Washington for the State 
 Capitol at Eichmond. It represents Washington in civil 
 attire with a staff in his hand ; his cloak and sword are 
 resting upon a bundle of rods, and, near, a rude plough is 
 represented. The original bust in marble, executed in 
 this country as a study for the work, is in the possession 
 of Mr. Hamilton Fish of New York. Houdon's Wash- 
 ington is declared to be a most faithful likeness. Casts 
 of the head and of the statue are in several collections in 
 this country. A bust of Lafayette by this sculptor is also 
 in the State House at Pachmond. 
 
 In the church of S. Maria degli Angeli in Piome is a 
 colossal statue of S. Bruno by Houdon. Of this master- 
 piece Clement XIV. exclaimed, " He would speak, if he 
 were not kept back by the discipline of his order ! " 
 
 In his personal character Houdon was amiable and 
 estimable. He died in 1828.
 
 1745.] FRANCOIS MASSON. 205 
 
 FRAN9OIS MASSON. 
 
 Fr.AN(;'OIS MASSON was born at Yielle Lyre, in 
 Xormandy, in 1745. He learned the elements of 
 design from a priest, and afterwards was instructed by a 
 sculptor of Pont Andemer. He acquired much skill, and 
 having executed medallion portraits of ]\Iarshal Broglie 
 and his brother, the Bishop of Noyon, to the great satis- 
 faction of the family, they sent him to Paris for improve- 
 ment, where he remained four years. He was then 
 commissioned to execute a fountain for the palace of the 
 Bishop of Noyon, which occupied him for two years. 
 The Bishop was so much pleased with the work that he 
 sent Masson to Eome to study, supporting him fur five 
 years. The artist improved his style by the study of the 
 antique, and on returning to France was employed in 
 the decoration of the government palace at ]\Ietz until 
 the breaking out of the Eevolution. After that time he 
 devoted himself to the execution of classical subjects and 
 ])orti-ait statues. The latter are remarkable for truth to 
 nature, and for excellence of execution. Masson died in 
 1807. 
 
 PHILIPPE LAURENT ROLAND. 
 
 PHILIPPE LAURENT POLAND, a French sculptor 
 of aljjhty, was born near Lille in 174G. He early 
 showed his tiilent for sculpture, and went to Paris for tlie 
 ]tur]»ose of study, where he became a ])U]iil in the studio 
 of Pajou. He ])robably assisted his master in the sculp- 
 tures upon th(t Palais Poyal. He then repaired to Pome,
 
 206 SCULPTORS OF THE RENAISSANCE. [1746. 
 
 where he remained for five years. With the increased 
 facilities for improvement offered to the student of art 
 there lie made great progress, and after returning to Paris 
 his reputation soon became established. His sculptures 
 are remarkable for purity of design and facility of execu- 
 tion. 
 
 In 1781 Eoland was elected a member of the Academy 
 for the production of a fine statue of Samson. He was 
 also made a member of the Legion of Honor. For a time 
 he was Professor of Sculpture in the Academy of Fine 
 Arts at Paris. 
 
 Among the principal works of this sculptor should be 
 mentioned the bas-reliefs in the apartments of the Queen 
 at Fontaiuebleau, representing the nine Muses. A statue 
 of Homer in rhapsody, accompanying himself on the 
 lyre, in the Louvre, is much praised. A bust of his 
 master, Pajou, is also to be seen in the Louvre. Poland 
 died in Paris in 1816. 
 
 ANNE SEYMOUR DAMER. 
 
 ANNE SEYMOUE DAMER, an English lady who 
 distinguished herself in sculpture, was born in 
 1748. She was the only daughter of Field-Marshal 
 Henry Seymour Conway. When quite young she devoted 
 herself to modelling in clay and wax with great enthu- 
 siasm ; later she pursued the study of anatomy, and 
 learned to chisel in marble. In 1767 she married John 
 Damer, eldest son of Joseph, first Lord Milton, but the 
 union was not a happy one; in ten years her husband end- 
 ed his career of selfishness and extravagance by suicide.
 
 1748.] AXXE SEYMOUR DAMEK. 207 
 
 Mrs. Darner renewed her internipted study of sculpture, 
 and visited Italy for improvement, studying and endeav- 
 oring to imitate the pure style of Grecian art. She also 
 travelled in France and Spain. Her progress was not 
 rapid, and she seems never to have reached a high degree 
 of excellence ; but as the work of a lady of rank and 
 fashion, and one who took an active and enthusiastic 
 interest in politics, some of her achievements in art are 
 remarkable. She was an ardent worshipi)er of heroes, 
 and did her best to inmiortalize her favorites with the 
 moulding tool and chisel. Xapoleon was her hero upon 
 the land, and Nelson upon the sea. She had the pleasure 
 of executing a bust of Nelson, and Napoleon promised to 
 sit to her, but the stormy scenes which followed pre- 
 vented the fulfilment of the promise. 
 
 With an unbounded reverence for her art and her 
 heroes, Mrs. Darner conceived the idea of aiding in the 
 work of evangelization in the East by setting up the 
 busts and statues of Christian heroes and kings in place 
 of the deities of Pagan worship; and as the first of a 
 series .she executed a bust of Nelson intended for this 
 philanthropic mission. 
 
 There is great inequality in the works of this artist ; 
 .some of them being rudely carved, while others are skil- 
 fully and carefully finislicd. She executed many portrait 
 busts and statues, with various mythological sculptures. 
 Among her works are a colossal statue of George III., 
 now in the Register Oflice in Edinburgh ; a Inist of her 
 mother, the Countess of Aylesbury, in Tunbridge cliurch ; 
 a bust of Nelson, executed directly after his return from 
 tlie Nile, now in Guihlhall; besides numerous busts of 
 noble personages and artists. 
 
 Mrs. Damer was beautiful in person and engaging in
 
 208 SCULPTORS OF THE RENAISSANCE. [i74a 
 
 manner, and, though proud of her rank, she was more 
 proud of her distinction as an artist. Her success could 
 not be called flattering, but her enthusiasm never de- 
 clined ; one of her last requests was that the implements 
 of her art should be deposited in her coftin. She died in 
 1828. 
 
 In the entrance hall of the British Museum is a statue 
 of Mrs. Damer by Westmacott. 
 
 CLAUDE MICHALLON. 
 
 CLAUDE MICHALLON, a French sculptor of some 
 distinction, was born at Lyons in 1751. He studied 
 in Paris, devoting himself to his art with great assiduity, 
 and gaining in time the Grand Prize, which enabled him 
 to pursue his studies in Eome. After his return to Paris 
 he practised his art with much success for a number of 
 years. 
 
 Michallon had formed an intimate connection with 
 Jean Germain Drouais, the distinguished young French 
 painter who died in Eome in 1788, and was commissioned 
 to execute the monument which was erected to his mem- 
 ory in S. Maria in Via Lata. 
 
 While employed upon a bas-relief in the Theatre Fran- 
 qais in Paris, in 1799, Michallon met his death by a fall 
 from a scaffolding.
 
 1755.] JOHN FLAXMAN. 209 
 
 JOHN FLAXMAN. 
 
 JOHX FLAXMAX, one of the most gifted of English 
 sculptoi"S, was born in 1755, in the city of York- 
 As a child, he manifested the poetic and artistic tastes 
 which distinguished him in his mature years. He mod- 
 elled in wax and clay, and devoted himself assiduously 
 to di-awing, though without any assistance or instruction. 
 So successful was he that at the age of eleven he gained 
 a prize for modelling from the Society for the Encour- 
 agement of Arts, and, two years later, a second prize. 
 When fourteen years of age he became a student at the 
 lioyal Academy, and the same year won the silver medal. 
 
 In London, young Flaxman formed acquaintances that 
 were both agreeable and serviceable to him. He devoted 
 himself to study, and in his early student years laid the 
 foundation of that extensive classical knowledfje which 
 bore such rich fruits in his art at a later time. 
 
 In 1787, he went to Italy, where he spent years of 
 incessant labor among the treasures of ancient art, the 
 spirit of which he was well prepared to understand and 
 appreciate. He especially devoted himself to the study 
 of vase-painting and of Pompeian mural decorations. 
 
 In the early part of his artistic career he was much 
 employed by Wedgwood in designing and decorating the 
 famous " Jasper ware." Some of his most pleasing works 
 are his mythological designs for vases and plaques, and 
 they are highly prized by collectors. 
 
 Flaxmau's skill in modelling did not equal his invent- 
 ive genius, and his jtroductions are not all of a high 
 degree of excellence. He executed various memorial 
 works, which are to be seen in diHlTiMit ICnglish cliurchus; 
 
 14
 
 210 SCULPTORS OF THE RENAISSANCE. [i755. 
 
 they are marked by refinement of feeling and appropriate 
 treatment. It is not, however, in these works that his 
 ability as an artist is to be estimated. In his designs 
 from Homer, ^schylus, and Dante, the richness of his 
 imagination and the creative power of his genius are 
 shown. In these works he stands perhaps unrivalled. 
 So vivid are his interpretations of the poet's thought, that 
 each series seems to the student a new revelation of the 
 author's purpose. His illustrations from Homer show 
 the classic bias of his mind, and also exhibit the highest 
 qualities of conception. Those from the tragedies of 
 ^schylus, which are a later work, present a combination 
 of the bold and dramatic with the graceful and lovely, 
 bringing to the mind visions of terror or of beauty by 
 touches more powerful than language. His designs from 
 Dante are of thrilling interest ; in the Triumph of Christ, 
 the culmination of the " Paradiso," he has portrayed a 
 scene of majesty and celestial splendor which would 
 entitle him to a place among the most gifted authors of 
 the religious art of the Eenaissance. 
 
 Examples of Flaxman's sculptures in marble are to be 
 seen in several English collections. His last work was a 
 series of designs for the exterior decoration of Bucking- 
 ham Palace. 
 
 In 1800 he was elected a member of the Eoyal Acad- 
 emy, and in 1810 was appointed Professor of Sculpture, 
 the professorship having been created expressly for him. 
 He was greatly esteemed, not only for his talents, but 
 for his purity of character and life, and for his delight- 
 ful social qualities. His wife was an amiable and ac- 
 complished woman, whose love of art was an added 
 inspiration in all his labors. 
 
 He died in 1826.
 
 1757] ANTONIO CANOVA. ^U 
 
 ANTONIO CANOVA. 
 
 AXTOXIO CAXOVA was born in 1757 in Tossagno, 
 an obscure village among tlie Venetian Alps near 
 the plains of Treviso. He was the only child of rietro 
 Canova, a stone-cutter in humble circumstances. When 
 Antonio was very young his father died, and his mother, 
 forming a second marriage, left him to tlie care of his pa- 
 ternal grandparents. His grandfather, Pasino Canova, 
 appears to have been a man of somewhat remarkable 
 character, and quite an artist, though entirely self-taught. 
 He no doubt did much in turning the young mind of An- 
 tonio towards the pui-suits that he loved, and instructed 
 him in the rudiments of art as far as he was able. His 
 grandmother tended his delicate childhood with the most 
 affectionate care, and watched his development with the 
 kindest solicitude. She lived to witness his success, and 
 he in turn ministered to her in her age and helplessness. 
 He kept in liis apartments at Rome a bust of his grand- 
 mother sculptured in the dress of her native province. 
 Pointing it out to a visitor upon one occasion, he said : 
 " That is a piece which I greatly value ; it is the likeness 
 of her to whom I owe as much as it is possible for one 
 human being to owe another." 
 
 As a child, Canova was more fund of spending his 
 time in liis grandfather's workshop than in playing with 
 the youths of the village, for which he received the name 
 of " sullen Tonin." He made early essays in modelling 
 in clay, and even executed some small works in marble 
 before liis tenth year. Near tin; village of Possagno, at 
 the foot of the Alps, were several residences occupied by 
 the Venetian nobility during a portion of the year, and
 
 212 SCULPTORS OP THE RENAISSANCE. [1757. 
 
 Pasino Canova was often employed in making repairs or 
 embellishments upon these villas, in which he was as- 
 sisted by young Antonio. At the residence of Senator 
 Giovanni Falier the boy became a great favorite, and 
 was taken under the special protection of this kind bene- 
 factor. When he was twelve years old, by the wish of 
 his patron, he was placed with Toretto, a sculptor of 
 Venice, who was living at that time in Possagno. He 
 remained under this instruction for two years, devoting 
 himself in a manner which gave proof of his talent and 
 his love for sculpture. He executed at this period many 
 drawings and models which are still in existence ; among 
 them the figures of two Angels, which he finished en- 
 tirely without assistance or models. He won the ap- 
 plause of his master for this performance, and from these 
 models Pasino Canova executed figures in marble, which 
 were placed in the church of Monfermo, a town at some 
 distance from Possagno. During this period he made his 
 first representations of the human form in marble. 
 
 It would seem that the intention of Senator Falier was 
 simply to assist young Canova to become a skilful work- 
 man ; and after the return of Toretto to Venice there re- 
 mained nothing for him but to establish himself in a 
 workshop, and spend his life toiling in his native village. 
 In his intimacy at the Falier villa he had formed a familiar 
 friendship with the younger son of the Senator, and the 
 elder son, Giambatista, was also interested in the young 
 sculptor. Through the superior influence of Giambatista 
 over his father, Canova two years later received an in- 
 vitation to Venice to pursue his studies, and was desired 
 to consider the Falier palace as his home, and to accept 
 from his patron whatever was needed for his education 
 and maintenance.. Gratitude was one of the marked
 
 1757.] - ANTONIO CANOVA. 213 
 
 traits of Canova's character, and the younger Falier once 
 said that he never received a letter from him in which 
 the sculptor did not gratefully allude to this timely inter- 
 cession of Giambatista in his behalf With joy he ac- 
 cepted the invitation, and Avas soon established with a 
 Venetian master in the study and practice of his art ; but 
 with characteristic independence he labored a part of each 
 day for his master, thus earning, in part, the supply of 
 his wants, which were few. Of this period he said : " I 
 labored for a mere pittance, — but it was sufficient. It 
 was the fruit of my own resolution ; and, as I flatter my- 
 self, the foretaste of more honorable rewards, — for I 
 never thought of wealth." 
 
 Established in Venice, a new field of improvement 
 opened to him ; he spent his mornings in studies at the 
 Academy, or at the Farsetti Gallery, while the afternoons 
 were spent in his master's workshop. His evenings w^ere 
 devoted to the improvement of his general education, 
 which had been somewhat neglected. In his art he pro- 
 gressed slowly ; but with a noble ambition to excel, and 
 with the conviction that excellence was only to be at- 
 tained througli unceasing industry, he in time achieved 
 what more brilliant talents have failed to accomplish. 
 He devoted much time to the study of anatomy, and he 
 drew and modelled diligently from the human figure. In 
 nature lie studied form and expression, and wherever he 
 went he was constantly observing attitudes and action to 
 guide him in his practice. Such was his devotion to his 
 art, that for many years he adhered to a resolution which 
 he had funned never to allow himself repose till he had 
 each day produced some design. 
 
 Among other works executed in Venice was the group 
 of Da-dalus and Icarus. It exhibits his faithful adhe-
 
 214 SCULPTORS OF THE RENAISSANCE. [i75r. 
 
 rence to nature, but without a careful selection of the 
 models. The group was intended for a niche in the cen- 
 tral pillar between the double entrance doors of the united 
 palaces of Pisani and Barbarigo, fronting the Grand Canal, 
 but when it was finished the owner was unwilling it 
 should be placed in a position in which it might be in- 
 jured by exposure, and it was placed in the Barbarigo 
 collection, though it is now in the Pisani palace. 
 
 In 1780 he went to Eome, where he greatly improved 
 his style by the study of the antique. His study of na- 
 ture was well supplemented by a study of the magnifi- 
 cent remains of sculpture there, and he improved these 
 opportunities with his characteristic energy and devotion. 
 To the study of the ancient statues in the various col- 
 lections he devoted a portion of each day, spending the 
 remainder in the seclusion of his studio, endeavoring to 
 embody his impressions and conceptions. He would fre- 
 quently be found at dawn in the court of the Capitol, or 
 on Monte Cavallo, with sketch-book or modelling appara- 
 tus. His taste, however, led him more to the cultivation 
 of the elegant and the graceful, and he evidently lacked 
 an elevated appreciation of spiritual beauty. This want 
 is felt in his finest works. The sentimentally pretty, the 
 soft, and the sensual too strongly predominate, and the ef- 
 fects of grandeur and repose were beyond his attainment. 
 These faults were in part due to the sentiment of the 
 times in which he lived. 
 
 Soon after his arrival in Eome he commenced his cele- 
 brated work, Theseus conquering the Minotaur, now in 
 the so-called Theseus Temple in the Volksgarten at 
 Vienna. Theseus is represented nude, with the excep- 
 tion of a Grecian helmet and a mantle thrown over the 
 left arm. His face is full of rage and scorn, and his fig-
 
 1757.] ANTONIO CANOYA. 215 
 
 ure is expressive of much strength and activity, though 
 somewhat theatrical iu attitude. But with all the expres- 
 sion and power with which the artist has invested The- 
 seus, the most moving part of tlie gi'oup is the prostrate, 
 suffering, almost quivering form of the Minotaur. Every 
 muscle is alive with agony ; the legs are crushed beneath 
 the fallen body, and the head, bent far back by the mer- 
 ciless grasp of the vanquisher, is full of helpless suflering, 
 while the weak, almost lifeless arm stretches for a last 
 support to the ground. In the same connection may be 
 mentioned the Perseus with the head of IMedusa, in the 
 Belvedere of the Vatican. This is a beautifully finished 
 statue, in which the artist evidently imitated the Apollo 
 Belvedere. It is somewhat weak and affected, and would 
 scarcely seem to merit the honor, which it received, of 
 occupying the place of the Apollo when that statue w^as 
 carried away by the French. So greatly was it admired, 
 however, and so far did it compensate for the loss of the 
 Apollo, that it received the title of Consolatrice. The 
 head of Medusa is that of a young and beautiful woman 
 with the serpents arranged about her face like clustering 
 hair, Viardot says : " Faithful to the Grecian type, and 
 taking the antique Medusa of IMunich for his model, 
 Canova succeeded in combining moral deformity with 
 physical beauty, and has given his Gorgon that expres- 
 sion of freezing disdain whicli pierces the soul, and may 
 be fatal." Canova's Pugilists, two clumsy and brutal fig- 
 ures, are in the same gallery. 
 
 In the Borghese Gallery is liis Venus Victrix, a half- 
 recund)ent figure with the features of Pauline Bona- 
 parte. A statue of Letizia, the mother of Napoleon, is in 
 the collection nf the Duke of Devonshire in London. 
 This if, a noble figure in an attitude of serene repose,
 
 216 SCULPTORS OF THE HENAISSANCE. [1757. 
 
 and may be classed among Canova's most successful 
 works. 
 
 Hebe, the goddess of youth, is one of his most poetic 
 creations. The elegant form, the light and buoyant atti- 
 tude, and above all the joyous expression of the face, is 
 quite unlike the sweet insipidity of many of his ideal 
 female faces. The lower part of the figure is covered 
 with a light drapery, which does not interfere witli tlie 
 springing, floating movement ; in one hand slie lifts high 
 the vase of ambrosia, and in the other holds the goblet. 
 The artist expressed his intention of indicating the fleet- 
 ing nature of human existence, particularly the delightful 
 stage of youth, by thus representing the rapid, gliding 
 motion of the goddess. One of these statues is in the 
 Museum of Berlin. 
 
 In a figure of Psyche Canova combined in an unusual 
 manner the utmost grace and beauty of form with an 
 exalted spiritual beauty. In the expression of this statue 
 he has portrayed the refined and ennobling delights 
 which accompany the exercise of the higher faculties of 
 the soul, and it must rank above most of his creations 
 of female grace and beauty. It is in the royal palace 
 at Munich. Most of his ideal female figures, Venuses, 
 Graces, and Nymphs, pall upon the taste of the spectator ; 
 and though in these, as weU as in other ideal works, he 
 sometimes shows a close imitation of antique sculpture, 
 it is often but an exaggeration of its defects. 
 
 Some of Canova's monumental works are of great excel- 
 lence. The finest of his sepulchral monuments is that of 
 the Archduchess Maria Christina of Austria, in the church 
 of the Augustines, at Vienna. It consists of a pyramid 
 of grayish marble upon a square base, with two steps 
 leading to a doorway in the centre of tlie tomb. In front
 
 17OT.] A^■TOXIO CANOVA. 217 
 
 of the entrance is a heavily draped figure of Virtue bend- 
 ing in sorrowful attitude above an urn wliich she bears 
 in her liauds. On either side of this figure are mournincc 
 virgins bearing garlands and torches. On the steps 
 bt'low, at the left of this group, is a figure of Beneficence, 
 upon whose arm is leaning an infirm old man, while near 
 them is a child in the attitude of devotion. Above is a 
 figure of Felicity ^ith an attendant cherub bearing the 
 portrait of the princess. Leaning against the body of a 
 couchant lion is the tutelary genius of Saxony mourn- 
 fully regarding the funereal train ; this figure is very 
 Ijeautiful and touching, — more so than the much-praised 
 mourning genius upon the monument of Clement XIII. 
 at Rome. Though somewhat theatrical and ostentatious 
 the monument of the Archduchess Maria Christina has 
 a picturesque harmony of arrangement, and in parts is 
 very beautiful. 
 
 Xext in merit among his works of this class is the 
 monument of Pope Clement XIII., in St. Peter's, and it 
 is, perhaps, as a whole more pleasing to a refined taste. 
 Tliere is an air of repose and solemnity which is appro- 
 priate and satisfying. The base is divided in the centre 
 by a door and has two gradations. On one side is a figure 
 of Pteligion, and at her feet couches a watchful lion ; on 
 the other side reclines a mourning genius with inverted 
 t<jrch, at his feet a sleeping lion. Above is the sar- 
 cophagus upon which kneels the figure of Kezzonico ; his 
 venerable head is bare, and the reverent attitude well 
 expresses the ])iety for which he was eminent. The tiara 
 i.s placed in front of him, and the pontifical robes fall 
 around his figure in rich and simple folds. To this work 
 Canova devoted nearly five years of diligent study and 
 labor, the work lieing almost entirely by his own hand.
 
 218 SCULPTORS OF THE RENAISSANCE. [1757. 
 
 In the execution of the mourning genius the sculptor 
 took great delight, laboring to finish it in the most 
 exquisite manner. After he had been for some time 
 working upon it, a discoloration appeared in the marble, 
 which was therefore thrown aside, and a more perfect 
 block obtained, at considerable cost of time and money. 
 This statue is referred to by Madame de Stael in Co- 
 rinne : — " Corinne, en contemplant ce Genie crut y trou- 
 ver quelque ressemblance avec Oswald," This figure is 
 of a soft, effeminate beauty, and has been greatly over- 
 praised. The figure of Religion is not a lofty conception. 
 
 The tomb of Clement XIV. (Ganganelli), in St. Peter's, 
 is also the work of Canova. Upon each side of the urn 
 is a female figure, representing Innocence and Moderation. 
 Above, in an antique chair, is the seated figure of the 
 Pope, his right hand extended " in attitude of command- 
 ing — of pacifying — of protecting." 
 
 At the special request of Napoleon Canova visited 
 Paris, where he was received with great honors and was 
 made a member of the Institute. While there he mod- 
 elled a colossal statue of Napoleon, which was executed 
 in marble some years later, and became the property of 
 the Duke of Wellington. It represents Napoleon as a 
 Eoman Emperor, and is a very imposing figure ; in the 
 left hand he holds a long staff, and in the right a statue 
 of Victory. A fine copy in bronze is in the court of the 
 Brera at Milan. A copy of the head in marble by Ca- 
 nova is in the Corcoran Gallery at Washington. 
 
 For the State of North Carolina Canova executed, about 
 1818, a statue of Washington which is a fine work. 
 Memes, in his Life of Canova, says of it : " The noble 
 statue of Washington .... is interesting, as the first 
 piece of sculpture executed in the Old and publicly com-
 
 ntn.] ANTONIO CANOVA. 219 
 
 missioned in the New World ; thus uniting by the fame 
 of one individual the arts of both hemispheres. The in- 
 trinsic beauty equally recommends the work to notice. 
 Seated, and arrayed in the imposing garb of an ancient 
 lioraan, the Liberator of America is inscribing on a tab- 
 let his last instructions, — 'George Washington to the 
 United States,' appearing already written. With the 
 antique majesty of costume, the mild and dignified 
 benevolence of the countenance finely accords, — telling 
 more plainly than the sword and sceptre on which he 
 tramples, that the happiness of nations, not the aggran- 
 dizement of an individual, urged him to unsheathe the 
 one and to reject the other." 
 
 Canova sculptured the kneeling figure of Pius VI. be- 
 fore the "Confession" in St. Peter's. This figure of 
 Angelo Braschi, the deposed Pope, who in his captivity 
 ordered this statue, its attitude and place, is one of the 
 latest works of Canova, and is of great excellence. 
 During his last illness it was in the sculptor's thoughts, 
 as there were certain finishing touches which he had 
 intended to give it, and must now regret his inability. 
 
 In liome Canova was greatly honored. He was made 
 President of the Academy of St. Luke, and in 1816 he 
 received the title of Marquis of Ischia, with an annual 
 pension of three thousand crowns. The Pope inscribed 
 the name of Canova with his own hand in the Golden 
 Volume (the book containing the names of the Poman 
 noliles, preserved among the archives of the Capitol). 
 
 Canova was a man of singularly pure and blameless 
 life. In spite of all the honors that were bestowed upon 
 him, lie was not moved from liis native sim])licity and 
 modi^sty of l^earing. He was a truly religious man, 
 always acknowledging with humility the overruling of a
 
 220 SCULPTORS OF THE RENAISSANCE. [1757. 
 
 good and all-wise Providence in all the affairs of life. 
 During the last years of his life he occupied himself with 
 the erection and adornment of a beautiful temple of wor- 
 ship in his native village of Possagno. It stands upon 
 the summit of a gentle elevation, a circular structure 
 with a portico of the Grecian Doric order, and adorned 
 with reliefs representing scenes from sacred history, from 
 designs and models by the sculptor. These reliefs repre- 
 sent the Creation of the World, the Creation of Man, the 
 Death of Abel, the Sacrifice of Abraham, the Annuncia- 
 tion, the Visitation, and the Purification of the Virgin. 
 They were executed in marble by seven Venetian sculp- 
 tors ; the models are in the Academy of Venice. The 
 church contains an altar-picture by Canova, representing 
 the Descent from the Cross. A Pieta which he modelled 
 for the interior of the choir was, after his death, executed 
 in marble. He died in 1822, and was buried in the 
 temple at Possagno. Nearly thirty years earlier Canova 
 had made a model for a monument to Titian, at the request 
 of individuals who were endeavoring to raise a fund for 
 the purpose. The attempt had failed, and the model had 
 never been appropriated. After his death the artists of 
 Venice, as the guardians of his fame, made arrangements 
 for the erection of a monument to him, and his own 
 model for the tomb of Titian was chosen. It was exe- 
 cuted by his pupils and placed in S. Maria dei Frari. In 
 the assembly hall of the Venetian Academy of Fine Arts 
 is an elegant vase of porphyry containing the sculptor's 
 right hand. 
 
 Canova was a man of great benevolence, and was 
 especially the willing patron and benefactor of struggling 
 artists. To expressions of gratitude he would say : " For- 
 bear acknowledgment, you owe me nothing, — I only now
 
 im] ANTONIO CANOVA. 221 
 
 perform a duty, because fortune has enabled me to do so, 
 which hereafter others will claim from you." He rejoiced 
 in the progress of art and in the success of other artists. 
 "When urged to refute some injurious criticisms of his 
 own work.s, which had appeared in the public journals, 
 he answered : " My works are before the public, and that 
 public has every right to pass judgment upon them; but 
 for my own part, it is my resolution not to reply to any 
 criticism whatsoever, otherwise than by exerting every 
 efibrt to do better." 
 
 Canova remained unmarried, though twice on the eve 
 of mairiage, it is said. For the last twenty years of his 
 life his half-brother was his sole companion and confidant, 
 and at his death became the distributor of his remaining 
 property. The name of Canova, so honored in the sculp- 
 tor's lifetime, is now extinct. 
 
 JOHANN HEINRICH DANNECKER. 
 
 JOHAXN HEIXrtlCH DxVNXECKER was born at 
 Waldenbuch, in the district of Stuttgart, in 1758. 
 His parents were in very humble circumstances. His 
 father was a groom in the stable of the Duke of Wiir- 
 temberg, and seems to have been a coarse, unamiablc 
 rnan, with no wish for his son to become fitted for a 
 hi'^lier station in life than the one occupied by himself. 
 His niotlier, on the contrary, perceived and fostered the 
 dawning aspirations and talents of her son, and to her he 
 attributed the first elevating infiuences of which he was 
 conscious. When young he learned to read and write, 
 but how tliis was accomplished he could not liimself re-
 
 222 SCULPTORS OF THE RENAISSANCE. [i758. 
 
 member in after years. Near his father's house there 
 lived a stone-cutter, and among the marble and freestone 
 he found means for indulging his tastes in a rude fashion, 
 though beaten for it as a proof of idleness. When he was 
 old enough to be of service as a stable-boy, he assisted 
 his father for a time. When he was about thirteen years 
 of age the Duke decided to admit the children of his do- 
 mestics to the military school which had been founded by 
 the Duke Charles Eugene in 1761, called the Karl Schule, 
 where not only military tactics were taught, but music and 
 drawing. Young Dannecker was eager to offer himself as 
 a candidate, and, though bitterly opposed by his father, 
 received the sympathy and assistance of his mother, who 
 prepared his scanty outfit, and accompanied him with 
 blessings and encouragement on his way to the Academy 
 adjoining the Hunting Palace of the Solitude. Here, 
 however, he made but httle progress, for the establish- 
 ment was badly managed, and the poorer pupils were 
 obliged to perform the most servile offices. Schiller was 
 a lad in the same school, and, perhaps at first drawn 
 together as fellow-sufferers, a friendship was formed be- 
 tween him and Dannecker which lasted through life. 
 
 When Dannecker was about fifteen the Karl Schule 
 was removed to Stuttgart, and he was placed under the 
 instruction of Grubel, a professor of sculpture, and not 
 long after he produced his first original composition, a clay 
 model of Milo of Crotona, which gained for him the first 
 prize. After this for some years he was employed in the 
 service of the Duke, executing decorations for various 
 palaces in process of erection. At length he obtained per- 
 mission to travel for study and improvement, with a small 
 allowance from the Duke, and he set out for Paris on foot. 
 His enthusiastic love for art sustained him under the
 
 1758] JOH-\NN IlEINRICH DANNECKER. 223 
 
 sharpest privations and trials there, and hungry and ill- 
 clad he labored day after day in the Louvre. Two years 
 of study aud experience among the opportunities ofiered 
 to the young artist in Paris tendeil greatly to the develop- 
 ment of his talent, and, best of all, he retained his native 
 purity and simplicity of heart. 
 
 In 1783 Dannecker's small annuity was somewhat in- 
 creased, enabling him to go to liome, and he again set out 
 on foot for the goal of his desires. Alone and friendless 
 in Rome he was at first often discouraged and heartsick ; 
 but he in time found friends, whose companionship not 
 only cheered and encouraged him, but assisted in reveal- 
 ing to the artist his own latent powers, — among them 
 Goethe, who was then residing there, and Canova, who had 
 already distinguished himself as a sculptor, and to whom 
 Dannecker became indebted for valuable aid in liis art. 
 He remained for five years in Eome, and then was re- 
 called to Stuttgart by the Duke, wlio appointed him Pro- 
 fessor of Fine Arts in the Academy, and employed him in 
 various ways. It is said that at one time he might have 
 entered the servnce of the king of Bavaria, and been 
 ])laced at the head of the School of Sculpture at Munich, 
 but the artist's love for his native city and his early 
 patrons prevailed over all considerations of ambition. 
 He married, and passed his life at Stuttgart, in a round 
 of constant, but tranquil occupation. 
 
 Dannecker's works, which consist mostly of single fig- 
 ures, are remarkaljle for grace and beauty of form and 
 attitude, es]>ecially liis female figures ; and though in his 
 earlier works he sometimes M'as led into over-elegance in 
 the treatment of the hair and of drapery, his later works 
 are marked by a classic purity of style. His early pro- 
 ductions were chiufiy mythological in character, but later
 
 224 SCULPTOES OF THE RENAISSANCE. [i758. 
 
 in life he devoted himself to the treatment of Christian 
 subjects, which he invested with a pensive idealism. He 
 did not produce a great number of works, but appears to 
 have bestowed much time and labor upon the few which 
 will render his name immortal. He was much occupied 
 with portraiture, for which department of his art he was 
 peculiarly fitted. His bust of Lavater is in the Library 
 at Zurich ; one of his friend Schiller is in the Art School 
 at Stuttgart. 
 
 Mrs. Jameson, who visited Dannecker in 1833, thus 
 describes that part of the interview relating to the exe- 
 cution of the bust of Schillej- : — " While I sat looking 
 at the magnificent head of Schiller, the original of the 
 multifarious casts and copies which are dispersed through 
 all Germany, he sat down beside me, and, taking my 
 hands between his own, which trembled with age and 
 nervous emotion, he began to speak of his friend. ' Nous 
 etions amis des I'enfance; aussi j'y ai travaille avec amour, 
 avec douleur, on ne pent pas plus faire.' He then went 
 on : ' When Schiller came to Louisberg, he sent to tell 
 me that he was very ill, — that he should not live very 
 Ions, and that he wished me to execute his bust. It was 
 the first wish of my own heart. I went immediately. 
 When I entered the house, I found a lady sitting on the 
 canap^, — it was Schiller's wife, and I did not know her ; 
 but she knew me. She said, " Ah ! you are Dannecker ! 
 — Schiller expects you." Then she ran into the next 
 room, where Schiller was lying down on a couch, and in 
 a moment after he came in, exclaiming as he entered, 
 " Where is he ? where is Dannecker ? " That was the 
 moment, — the expression I caught, — you see it here, — 
 the head raised, the countenance full of inspiration, and af- 
 fection, and bright hope ! I told him that to keep up this
 
 1753] JOIIAXN UEINRICII DANXECKER. 225 
 
 expression he must have some of his best friends to con- 
 verse ^vith him Avliile I took the model, for I could not talk 
 and work too. 0, if I could but remember what glorious 
 things then fell from those lips ! Sometimes I stopped 
 in my work, — I could not go on, — I could only listen ? ' 
 And here the old man wept ; then, sutklenly changing his 
 mood, he said, ' But I must cut off that long liair ; he 
 never wore it so ; it is not in the fashion you know ! ' I 
 begged him for Heaven's sake not to touch it ; he then, 
 with a sad smile, turned up the sleeve of his coat, and 
 sliowed me his wrist, swelled with the continual use of 
 his implements, — ' You see I cannot ! ' And I could 
 not help wishing, at the moment, that, while his mind 
 was thus enfeebled, no transient return of physical 
 strength might enable him to put his wild threat in 
 execution." The hair upon this fine head was, however, 
 j)artiaUy mutilated by the sculptor. 
 
 Among Daunecker's most celebrated works is his statue 
 of Christ, upon which he labored with great enthusiasm, 
 and which he evidently regarded as his crowning work. 
 He believed liimself to have been divinely appointed and 
 inspired for this work, the ideal having appeared to him 
 in a dream at three difierent times. For eight years it 
 absorljed the thouglits and energies of the sculptor, and 
 when the statue was completed he felt assured that he 
 had succeeded in overcoming all difficulties by Divine as- 
 sistance and a diligent study of the Scriptures. He M'as 
 .sometimes asked where were the models after which he 
 worked ; and he would reply," Here, and here," — laying 
 Ills hand upon his head, and then upon his heart. It is a 
 sliiuder ami delicate figure, standing in a slightly droop- 
 ing attitude, entirely enveloped in a flowing robe. He 
 endeavored to create an ideal in which the moral and 
 
 «Jf A.iA.k.
 
 226 SCULPTORS OF THE RENAISSANCE. [i758. 
 
 intellectual faculties should be in full development, while 
 suppressing everything that could indicate the existence 
 of animal nature. Perhaps his success was as great as 
 has ever been achieved in such representations ; but to 
 eliminate certain faculties for embodiment, though they 
 be the highest, must fall short of the Christian ideal, 
 which can be nothing less than the whole nature elevated 
 and sanctified. The original statue is in the possession 
 of the Emperor of Eussia. The artist repeated it for the 
 monument of the Prince of Thurn and Taxis, in St. Em- 
 meram, in Eatisbon. 
 
 Some charming mythological works of Dannecker are 
 to be seen in the Eosenstein palace near Stuttgart. His 
 celebrated Ariadne is in the Bethmann Museum, or, as it 
 is called, the Ariadneum, at Frankfort. This is generally 
 regarded as the sculptor's masterpiece, and the inhabit- 
 ants of Frankfort greatly pride themselves upon its pos- 
 session, though it was a disappointment to Dannecker 
 that it should not remain in his native city. The author 
 did not choose the more touching and poetic character in 
 which to represent Ariadne : she is no longer the aban- 
 doned and desolate one, but the triumphant bride of the 
 god of the vintage. She is half sitting, half lying, upon 
 the back of a clumsy, mythological panther, upon the 
 head of which one arm rests lightly, while the hand holds 
 the falling drapery. The body and limbs are finely mod- 
 elled, and the attitude is very graceful and pleasing. The 
 whole group is of the most exquisite finish. The pose of 
 the head and the arrangement of the coiffure give it a 
 somewhat jaunty air, though this is hardly out of har- 
 mony with the airy repose of the figure. 
 
 Dannecker was an artist of the most pure and noble 
 aims, disdaining to use his talents for unworthy ends.
 
 1758.] JOIIANN IIEINRICII DANNECKER. 227 
 
 He was once ordered to execute a figure to please the 
 King, who gave him the design ; but it was one which his 
 pure taste did not sanction, and he refused to so degrade 
 his art ; he said, " C'etait travailler pour le diable ! " 
 
 Canova, who visited Dannecker in his latest years, 
 was so impressed -with the childlike simplicity and un- 
 worldliness of his nature that he gave him the title of 
 
 // BiMtO. 
 
 Dannecker died in Stuttgart in 1841. 
 
 IVAN PETROVITCH MARTOS. 
 
 IVAN rETIiOVITCH MARTOS was an eminent 
 Piussian sculptor, born at Itchnia, in Little Eussia, 
 about 17G0. He M-as patronized by the Empress Feodo- 
 rowna, and was sent to Eome to study at the expense of 
 the government. He executed numerous statues of excel- 
 lence, and was especially successful in bas-relief His 
 works are marked by nobleness of conception and life- 
 like expression; they are executed with freedom, yet 
 without negligence. In the treatment of drapery he is 
 regarded as superior even to Canova. 
 
 Among the best works of Martos are a colossal bronze 
 group of the patriots Minin and Pozliarski at Moscow ; 
 the monument of the Prince Potemski, the celebrated 
 military commander at Cherson ; the mausoleum of the 
 Emperor Alexander at Taganrog ; and the monument of 
 Lomonosov, the celebrated liussian poet, at Archangel. 
 Martos was Director of the Academy of Fine Arts at St. 
 Petersburg. He dic-d in 1835.
 
 228 SCULPTORS OF THE RENAISSANCE. [1762. 
 
 JOHN CHARLES FELIX ROSSI. 
 
 JOHN" CHAELES FELIX EOSSI, the son of an 
 Italian of Sienna, was born in Nottingham, Eng- 
 land, in 1762. He was first instructed by an Italian 
 artist, and afterwards became a student at the Eoyal 
 Academy in London. In 1781 he gained the silver 
 medal of the Academy, and after three years more of 
 labor he won the gold medal which entitled him to three 
 years' study in Eome with the requisite pension. He 
 availed himself of the opportunity, and at Eome devoted 
 himself to his profession with great assiduity. After his 
 return to England he distinguished himself by the execu- 
 tion of various mythological and allegorical works. His 
 most famous productions, however, are the monuments 
 executed by him for St. Paul's Cathedral. The best of 
 these are the monument of Lord Cornwallis, consisting of 
 the figure of the hero and three allegorical figures repre- 
 senting Indian rivers ; that of Lord Heathfield, a single 
 figure with a bas-relief upon the pedestal, representing a 
 warrior crowned by Victory ; that of Captain Faulkner, 
 in which Neptune is represented rescuing a drowned 
 sailor, while an attendant figure bestows a crown of 
 laurel ; and that of Lord Eodney, an elaborate pyramidal 
 group representing the Admiral, with figures of Fame and 
 History below. 
 
 Eossi's style is remarkable for vigor and grandeur 
 of effect. He was a member of the Eoyal Academy, 
 and was appointed sculptor to William IV. He died in 
 1839.
 
 1763.] ANTOINE DE^'IS CHAUDET. 229 
 
 ANTOINE DENIS CHAUDET. 
 
 ANTOIXE DENIS CHAUDET, one of the best 
 Fieneli sculptors of modern times, was born at 
 Paris in 17G3. As a child he displayed a remarkable 
 talent for modelling, and at the age of fourteen was ad- 
 mitted as a student at the Academy of Fine Arts. When 
 be was twenty-one he gained the Grand Prize for a bas- 
 relief representing Joseph sold by his Brethren. This 
 enabled him to go to Kome, where he remained for five 
 years. His devotion to the antique is shown in the sim- 
 ple and noble style which he formed. To a thorough 
 technical training he united a purity of taste which 
 seems to have guarded him from the extravagant and 
 picturesque tendency of his time. After his return to 
 Paris he produced works which raised him to the highest 
 rank among modern sculptors. His knowledge of art 
 was extensive, and he was ajjpointed Professor of Sculp- 
 ture in the Academy. 
 
 In the Louvre is Chaudet's group of the Shepherd of 
 I'olybus carrying away the young (Edipus, Avhich is re- 
 garded as his finest work. For the peristyle of the Pan- 
 theon at Paris, he executed a relief, which is called the 
 Emulation of (llory, representing a dying warrior sup- 
 ported Ijy the genius of Fame. 
 
 His magnificent statue of Napoleon is now in tlie 
 gallery of medireval and modern sculptures in the Old 
 Museum at Berlin. Napoleon is represented as a Poman 
 ?>nperor, and the statue is in the ncible style of the an- 
 ti(pie ; it is considered the best likeness of the Emperor 
 in exi.stence. 
 
 Chaudet executed the silver statue of Peace which was
 
 230 SCULPTORS OF THE RENAISSANCE. [i763. 
 
 presented to Napoleon I. by the city of Paris. It was 
 formerly kept in the palace of the Tuileries, and was res- 
 cued from the fire in 1871 ; it is now in the Louvre, in 
 the room which was once the chapel of the Ordre du St. 
 Esprit. 
 
 As a painter and designer Chaudet also gained distinc- 
 tion. He died in 1810. 
 
 JOHANN GOTTFRIED SCHADOW. 
 
 JOHANN GOTTFEIED SCHADOW, regarded as the 
 founder of the modern school of sculpture in Ger- 
 many, was born at Berlin in 1764. His German instruc- 
 tor in art is said to have been Johann Tassaert. Schadow 
 married early, and through the liberality of his father-in- 
 law was enabled to go to Eome, where he studied for 
 some years. After his return to Berlin he was appointed 
 Court Sculptor. 
 
 The works of this artist are characterized by an unpre- 
 tending simplicity and truth. Among his best works are 
 the statue of Frederick the Great in the Theatre-Platz at 
 Stettin, and the statue of Marshal Bliicher in the Blii- 
 cher-Platz at Eostock. This statue is near the place 
 where Bliicher was born, in Bliicher-Strasse ; it is of 
 bronze, and upon the pedestal are reliefs in allusion to 
 the Marshal's defeat at Ligny, when in command of the 
 Prussian army, and to his victory at Waterloo. At Wit- 
 tenberg in the Markt-Platz is Schadow's statue of Luther, 
 Upon the pedestal is the inscription, " If it be God's 
 work it will endure, if the work of man it will perish." 
 
 The magnificent Quadriga of Victory, which crowns the
 
 1764.] JOHANN GOTTFRIED SCIIADOW. 231 
 
 Brandenburg Gate at the entrance to Unter den Linden 
 in Berlin, is the work of this sculptor. It was carried 
 away by the French in 1806, but returned to its place in 
 ISli. 
 
 Schadow was Director of the Berlin Academy, and was 
 the author of several treatises on art. He died in 1850. 
 
 DON JOSE ALVAREZ. 
 
 DOX JOSfi ALVAREZ, one of the most eminent of 
 modern Spanish sculptors, was born at Priego in 
 the province of Cordova, in 1768. His father was a 
 stone-mason, and he himself was taught the same trade 
 in his youth ; but having a marked ability for designing, 
 his leisure moments were diligently employed in the 
 study and practice of drawing. In his twentieth year he 
 became a student in the Academy of Granada, where he 
 soon distinguished himself by his skill in modelling. He 
 attracted the notice of the Bishop of Cordova, who became 
 his patron and caused him to be made a member of the 
 Academy of Cordova. In 1794, Alvarez became a stu- 
 dent in the Academy of S. Fernando in Madrid, where 
 he distinguished himself by the excellenee of his work, 
 gaining a prize of the first class for a bas-relief In 
 1799 he received from King Charles IV. a pension of 
 twelve thousand reals (fifteen thousand dollars), which 
 enabled him to prosecute his studies in Paris and in 
 Kome. In I'aris he devoted him-self to the study of anat- 
 omy, and also produced various works in sculpture. 
 
 In 1802 lie executed a statue of Ganymede, which 
 very greatly increased his reputation, and was pronounced
 
 232 SCULPTORS OF THE RENAISSANCE. [i768. 
 
 by David the painter equal to the antique. It is in the 
 Academy of S. Fernando in Madrid. 
 
 In Eome Alvarez executed many fine works, and was 
 made a member of the Academy of St. Luke. Perhaps 
 his most admired works are those of a mythological char- 
 acter. About 1818 he was appointed court sculptor to 
 Ferdinand VII. He died at Madrid in 1827. 
 
 Don Manuel Alvaeez (1727-1797) was a reputable 
 Spanish sculptor, born at Salamanca. He became sculp- 
 tor to the king of Spain, and was at one period Director 
 of the Academy of S. Fernando in Madrid. His worlvs 
 are numerous in Spanish collections. 
 
 FRAN9OIS JOSEPH BOSIO. 
 
 BAEON FRANgOIS JOSEPH BOSIO was a dis- 
 tinguished sculptor, born at Monaco, in 1769. 
 He studied in France under Augustin Pajou, and became 
 one of the most successful imitators of the antique among 
 French sculptors. 
 
 The work by which he is best known, perhaps, is the 
 relief upon the Colonne Vendome in Paris, in the execu- 
 tion of which he was employed by Napoleon I. This 
 monument was raised by the Emperor between 1806 and 
 1810, to commemorate his victories over the Austrians 
 and Eussians in 1805, and the cannon taken in this cam- 
 paign were used in its construction. It was modelled after 
 Trajan's Column in Eome. It was one hundred and forty- 
 four feet in height, and thirteen feet in diameter, built 
 of masonry and covered with plates of bronze, forming a
 
 1769.] F1UN<;-0IS JOSEPH BOSIO. 233 
 
 spiral nearly three hundred feet in length. Upon this 
 were represented in bas-relief the most memorable scenes 
 in the campaign of 1805. The figures were about three 
 feet in height, and the costumes and equipments of the 
 soldiers of the period were accurately given. Upon the 
 pedestal were represented the uniforms and arms of the 
 Austrians and Russians. At the corners were four eagles 
 bearing gailands, and upon the summit was the statue of 
 Napolef)n. This statue was taken down by the loyalists 
 in 1814 (the bronze was employed in the execution of 
 the equestrian statue of Henry IV. whicli adorns the Pont 
 Xeuf) and the column was surmounted with the ficur-de- 
 lis and a white flag. In 1831 a new statue of Napoleon, 
 cast from the metal of guns captured at Algiers, was 
 raised by Louis Pliilippe to the summit, in place of 
 the ?Lrmox\Q\ Jicar-dc-lis. In 1863 Napoleon III. caused 
 this statue to be replaced by a fac-simile of the original 
 figure. In 1871, the whole column was thrown down, 
 but a large portion of the fragments were preserved and 
 the work of reconstruction soon commenced ; the column 
 shows now little trace of its dire vicissitudes. 
 
 A number of other sculptors were employed in the 
 e.xecution of the original reliefs of this monument. Pro- 
 fessor Lubke says that in this work Bosio's " classic ten- 
 dency suffered a kind of martyrdom." 
 
 Bosio designed the Ijronze Quadriga which crowns 
 the Arc de Triomphe of the Place du Carrousel in Paris. 
 This arch was originally surmounted by a gilded bronze 
 quadriga of Iloman workmanship, which prol)al)ly adorned 
 the triumphal arch of Nero, and, later, that of Trajan. 
 C'onstantine caused this to be carried to Constantinople, 
 whence it was taken to Venice, in 1204, and ])laced over 
 the main portal of S. Marco. In 17'J8 Napoleon conveyed
 
 234 SCULPTORS OE THE RENAISSANCE. [1769. 
 
 the group to Paris, and it was placed, a few years later, 
 upon the Arc de Trioniphe du Carrousel ; but in 1814 it 
 was restored to its place above the entrance of S. Marco, 
 in Venice, and the bronze group by Bosio was executed 
 for Napoleon's triumphal arch. 
 
 The Chapelle Expiatoire in Paris, erected by Louis 
 XVIII. to the memory of Louis XVI. and Marie Antoi- 
 nette, contains two marble groups, one of which is by 
 Bosio. It represents Louis XVI. receiving consolation 
 from an angel, who addresses to him the words, Fils de 
 St. Louis, montez au del. The other group, which repre- 
 sents Marie Antoinette supported by Eeligion, was exe- 
 cuted by Jean Pierre Cortot, a French sculptor who was 
 contemporary with Bosio, and the author of various his- 
 torical works. 
 
 Bosio produced a number of mythological works in 
 marble, some of which are to be seen in the Louvre. In 
 his old age he essayed religious subjects, but in these was 
 not successful. He was a membef of the Institute of 
 Prance, and of the Academy of Art at Berlin. He died 
 in 1845. 
 
 BERTEL THORVALDSEN. 
 
 BEPtTEL THORVALDSEN was born in Copenhagen 
 in 1770. His name is given by some biographers 
 as Albert Bertel, which is not correct. Bertel is, in 
 Danish, the familiar equivalent of Bartholomew ; the 
 Italians changed it to Alberto, and by this name he was 
 known in Rome. Thorvaldsen is correct according to 
 the artist's native orthography, but in this country and in 
 Europe it is often spelled Thorwaldsen.
 
 / 
 
 1770.] BERTEL THORYALDSEN. 235 
 
 His parents were in luunble circumstances ; his father 
 was a wood-carver, and employed in a shipyard carving 
 figure-heads for merchant vessels. Bertel began to assist 
 his father when very young, and this probably gave him 
 his first inclination towards sculpture as a profession. 
 When he was eleven years of age he was sent to the 
 Academy of Fine Arts, where he received instruction for 
 several years, making commendable progress. His gen- 
 eral education was almost entirely neglected, and through- 
 out his life the sculptor's chisel seems to have been the 
 only effectual medium for the expression of his ideas. 
 He was considered a laz^'outh except in what pertained 
 to art. 
 
 When he was seventeen years of age he won the silver 
 medal of the Academy for a relief of Love in liepose, and 
 three years later the small gold medal for a bas-relief of 
 Heliodorus driven from the Temple. After two years 
 more of study, he gained the Grand Prize, which entitled 
 him to go to Rome to study ; but as the privilege was at 
 that time enjoyed by another student, he was obliged 
 to wait for some time, and the Academy assisted him in 
 continuing his studies at Copenhagen. 
 
 After waiting two years for the fulfilment of his 
 desires, and undergoing a long and tedious voyage, he 
 reached Ifome, where the sight of the treasures of an- 
 tique art filled his soul with delight. He was wont to 
 say, referring to the date of his arrival in Iiome : " I 
 was born on the 8th of March, 1797, — before then I did 
 not exist." 
 
 He made a thorough study of antique art, copying 
 assiduously, and for a time seems not to have produced 
 many original works. During the early part of his stay 
 in Rome he experienced many discouragements and vicis-
 
 236 SCULPTORS OF THE RENAISSANCE. [mo. 
 
 situdes, and when the term for which he was entitled to 
 assistance had nearly expired he prepared to return to 
 Denmark. He resolved, however, to execute an impor- 
 tant work before leaving, designed as a gift to his native 
 country. He modelled a Jason, represented bearing the 
 golden fleece, after his conquest of the dragon ; but it did 
 not gain much admiration, and the sculptor destroyed it. 
 He modelled another on a colossal scale, which excited 
 great admiration, but brought no pecuniary advantages ; 
 and as there seemed now no way but to return at once to 
 Copenhagen, all his arrangements were made for depart- 
 ure. Almost at the last moment, the English banker, 
 Thomas Hope, visited Thorvaldsen's studio, and, struck 
 with the majesty of the model of Jason, commissioned 
 the artist to produce it in marble ; from that time fame 
 and fortune both attended the career of the sculptor. 
 The statue of Jason was, however, not finished for many 
 years. It is a fine colossal figure, holding in his right 
 hand the lance with which he vanquished the dragon who 
 watched over the golden fleece, and this trophy he bears 
 upon his left arm. A copy in marble, as well as the 
 plaster model of it, is in the Thorvaldsen Museum in 
 Copenhagen. 
 
 Among his earlier works are many mythological sub- 
 jects, youthful figures of gods and goddesses, which are 
 embodiments of grace and beauty, and sometimes possess 
 almost the calm dignity and repose of antique statues. 
 An Adonis is one of his masterpieces in this branch of art, 
 and is besides remarkable for being one of the few of 
 Thorvaldsen's productions which are entirely the work of 
 his own hands. It represents the young shepherd just 
 returned from the chase, and leaning against the trunk of 
 a tree, over which his cloak is thrown. Canova pro-
 
 1770] BERTEL THORY-^LDSEN. 237 
 
 nouuced the statue " noble and simple, in the true an- 
 tique style, and full of feeling." It is in the Glyptothek 
 at Munich. His gi'oup of Cupid and Psyche, is a beauti- 
 ful work ; the two figures are standing side by side, look- 
 ing into the cup of immortality which Psyche holds in 
 her hand. There are several representations of this ; one 
 is in the Thorvaldsen ^luseum. Among the most beau- 
 tiful and widely known of his works are the bas-reliefs 
 of Night and Morning. The former was conceived dur- 
 ing a sleepless night, and modelled in the freshness of 
 inspiration ; the other was produced simply as a com- 
 panion piece. The goddess of Night is represented with 
 her wings spread, softly floating in space. The idea of 
 repose, yet of constant motion, is marvellously carried 
 out ; the drooping head is covered with a close hood, 
 wliich leaves the whole profile visible, while it adds to 
 the dreamy and mysterious air of the head ; above the 
 forehead are poppies bound in the hair. In her arms she 
 beai-s two children in the attitude of deep slumber. The 
 owl, as the bird of night, is an accompaniment, and it is 
 said was added at the suggestion of the mason who cast 
 the work. The Morning is a beautiful composition, full 
 of brightness and animation, but lacking the ideal charm 
 of the other. There are many repetitions of these bas- 
 reliefs ; one is in the collection at Chatsworth, another 
 in the Thorvaldsen ^luseum, together with the plaster 
 model. A group representing Ganymede kneeling, and 
 liolding the cup for the eagle to drink, is of remarkable 
 excellence. 
 
 Thorvaldsen was commissioned with the restoration of 
 the Egina marbles, which were discovered in 1811, and 
 purcha.sed by the Prince of Bavaria. lie performed tlio 
 task U) the great admiration of connoisseurs in art ; the
 
 238 SCULPTORS OF THE RENAISSANCE. [mo. 
 
 tints were matched so exactly that at first he was fre- 
 quently asked by visitors which were the restored parts. 
 He would reply, laughing : " I cannot say ; I neglected 
 to mark them, and I no longer remember. Find them 
 out for yourself if you can." The marbles are in the 
 Glyptothek at Munich, and the restored parts are now 
 so changed in color that it is not difficult to distinguish 
 them. 
 
 In 1811, when arrangements were being made for 
 Napoleon's entry into Eome, Thorvaldsen was employed 
 to execute a frieze for one of the apartments of the Quivi- 
 nal Palace, and the subject chosen was the Triumphal 
 Entry of Alexander into Babylon. This celebrated bas- 
 relief was executed in plaster in the short space of three 
 months. A marble copy was ordered by Napoleon, who, 
 however, was not destined to be glorified by it, and it 
 was finally purchased by the Count of Sommariva for his 
 villa (now called Villa Carlotta) at Lake Como, It was 
 repeated for the palace of Christiansborg in Copenhagen. 
 In this composition Thorvaldsen followed the account 
 given by the lioman historian Quintus Curtius. The 
 work as first produced, owing probably to the rapidity 
 with which the artist was obliged to work, was some- 
 what imperfect in detail ; but in the later copies many 
 changes were introduced, which greatly improved the 
 effect. One of his biographers says of this work, " It is 
 perhaps the most admirable masterpiece produced by art 
 since the ever glorious age of Grecian sculpture." 
 
 Another celebrated achievement is the Lion of Lucerne, 
 for which he made the model about 1819. It is the 
 noble figure of a dying lion, carved in solid granite, de- 
 signed to commemorate the fidelity of the Swiss Guards 
 who fell in defence of the Tuileries in 1792. A model 
 of it is in the Thorvaldsen Museum.
 
 mo.] BERTEL THORVALDSEN. 239 
 
 Thorvaldseii executed many other commemorative 
 monuments, among -vvhicb should be mentioned the eques- 
 trian statue of the Elector ^laximiliau at jNIunich, the 
 statue of Gutenberg at Mainz, and the Schiller monument 
 at Stuttgart. He also designed a large number of sepul- 
 chral monuments, which are characterized in great meas- 
 ure by the same manner of treatment as his mythological 
 subject. It is said of him, that he had not the enthusi- 
 asm of faith, and that his works are more fitted to satisfy 
 the mind of the thinker than the heart of the Christian. 
 
 His portrait statues and busts are very numerous. 
 Among the latter is one of Byron, and the circumstances 
 of its production were thus pleasantly related by the 
 sculptor to his friend Andersen : " It was at Eome that 
 I had to make the statue of Lord Byron. When, accord- 
 ingly, that noble personage came to my atelier, he sat 
 down in front of me and forthwith assumed a strange 
 aspect, — wholly dil^lerent from his ordinary physiognomy. 
 ' My lord,' I said to him, ' have the goodness to be tran- 
 quil. I beg of you not to look with such an air of mis- 
 ery.' — ' That is the characteristic expression of my face,' 
 replied Byron. ' Indeed ! ' was my rejoinder, and, without 
 troubling myself further with this mockery of mood, I 
 proceeded to work out my own impressions. When the 
 bust wfus finished, every one considered the likeness to be 
 striking ; but the lord was not content. ' This,' said he, 
 ' is not my face ; I have a much greater aspect of wretch- 
 edness than that,' — for he would obstinately have that 
 air of mi.sery." 
 
 With Sir Walter Scott, whose bust he also modelled, 
 he seems to have got on better. At the request of Sir 
 Walter they were introduced at liome. They appeared 
 to Ije mutually pleased at the meeting, but as neither
 
 240 SCULPTORS OF THE RENAISSANCE. [im 
 
 could speak the language of the other, their conversation 
 was necessarily fragmentary and unsatisfactory. It was 
 a confused interchange of exclamations of delight in 
 various languages, somewhat after this manner : " Cono- 
 scenza," — " Plaisir," — " Happy," — " Charme," — " Pia- 
 cere," —" Delighted," — " Heureux." But they shook 
 hands warmly, and clapped each other on the shoulder, 
 and the utmost good-fellowship seemed to be speedily 
 established between them. If the sculptor was no more 
 successful with the bust of this more cheerful subject, its 
 execution doubtless afforded him greater pleasure. 
 
 In the later years of his life Thorvaldsen applied him- 
 self to the production of religious subjects. In his native 
 city, among other important undertakings, he was com- 
 missioned with the embellishment of the church of Our 
 Lady (the True Kirke) with sculptures, and these com- 
 prise the greater part of his religious works. The exte- 
 rior decorations consist of a large frieze for the portal of 
 the church, representing Christ's Entry into Jerusalem, 
 and for the pediment the Preaching of John the Baptist. 
 For the interior are statues of Christ and the Apostles, 
 including St. Paul ; behind the altar a frieze, represent- 
 ing Christ on the way to Calvary ; for the side walls the 
 Baptism of Christ, and the Last Supper. His apostles 
 are invested with characteristic individuality, and, if they 
 are sometimes wanting in spirituality, they have intellect. 
 The St. Paul is entirely the work of the sculptor's own 
 hand. The Christ is a noble figure, with hands outspread 
 as if to express the invitation, " Come unto me." In rep- 
 resenting the Last Supper he departed entirely from the 
 conventional composition ; the Saviour stands before the 
 table with his eyes raised in blessing the cup, while 
 the Apostles kneel in groups about him. The Angel of
 
 im] BERTEL TKORVALDSEN. 241 
 
 Baptism in the Frue Kirke is a beautiful conception, — a 
 draped figure with wings, kneeling upon one knee, and 
 holding a shell-shaped font. Tlie face, which is slightly- 
 raised, has an expression of sweet serenity, and the head 
 is crowned with flowers. 
 
 Among the artist's symbolical works are, perhaps, his 
 most attractive creations. Tliorvaldsen was educated in 
 the Lutheran faith, but his want of religious feeling was 
 apparent. A friend remarked to him that his lack of re- 
 ligious faith must render the expression of Christian ideas 
 difficult, to which he replied : " If I were altogether 
 an unbeliever, why should that give me any trouble ? 
 Have I not represented pagan divinities ? Still, I don't 
 believe in them." But marvellous as was the skill of this 
 master's hand, and strong and keen as was his intellect, 
 there must exist the feeling that something was wanting ; 
 his nature was grand and noble in the main, but it was 
 not developed on all sides. 
 
 Thorvaldsen took great delight in the stories related by 
 his friend, Hans Andersen. He was also passionately 
 fond of music. Mendelssohn wrote in one of his letters 
 from Eome : " !My piano-playing is a source of great grat- 
 ification to me here. You know how Thorvaldsen loves 
 miLsic, and I sometimes play to him in the morning while 
 he is at work. He has an excellent instrument in his 
 studio, and when I look at the old gentleman and see him 
 kneading liis brown clay, and delicately filing off an arm 
 or a fold of drapery, — in short, wlien he is creating what 
 we all must admire when com])leted as an enduring work, 
 — then I do indeed rejoice that I have the means of be- 
 stowing any enjoyment on him He looks like a 
 
 lion, and the very siglit of his face is invigorating. You 
 feel at once that he nmst be a noble artist ; his eyes look
 
 242 SCULPTORS OF THE RENAISSANCE. [mo. 
 
 so clear, as if with him every object must assume a defi- 
 nite form and image. Moreover he is very gentle, and 
 kind, and mild, because his nature is so superior ; and yet 
 he seems to be able to enjoy every trifle." 
 
 Thorvaldsen's favorite branch of sculpture was bas- 
 relief, and in this he greatly excelled. His works in every 
 department are very numerous ; the Thorvaldsen Museum 
 in Copenhagen, which was founded by the sculptor, and 
 to which he made large bequests, contains copies and 
 models of all his works. His monument was constructed 
 in the centre of the building. He was much praised dur- 
 ing his career, especially b}'- his own countrymen, and his 
 last days w^ere passed in his native city, though he con- 
 templated another visit to Eome. He continued his 
 labors until the last, being occupied the very day of his 
 death upon the model of a bust of Luther. His death 
 occurred one evening in March, 1844, soon after entering 
 a theatre. A year before the event his friend Andersen 
 paid him a visit for the purpose of communicating the 
 news of the death of a celebrated countryman, who had 
 become indisposed while at the theatre, and started to 
 return home ; on reaching the door of his house he was 
 found dead in the carriage. Thorvaldsen exclaimed, " Is 
 not that an admirable and enviable death ? " Just a year 
 later, death came to him in almost precisely the same 
 manner. 
 
 Thorvaldsen never married ; in his early years he 
 formed an unfortunate connection with a woman in 
 humble life, which brought him much unhappiuess. 
 She finally disappeared from his history, and it is proba- 
 ble that lie separated permanently from her, though pro- 
 viding for her maintenance. She bore him one child, a 
 daughter, for whom he amply provided, and arranged an
 
 ino.] BERTEL THORVALDSEN. 243 
 
 honorable marriage. He bad various love passages in 
 the coui"se of his life, hut upon himself they left but lit- 
 tle trace. Whatever tricks his fancy may have played, it 
 is clear that his heart M'as given entirely t<j his art. 
 
 The unfinished bust of Luther is preserved under glass 
 in the Museum at Copenhagen, together Avith the hand- 
 ful of clay \vhicli lie laid down before it uii leaving his 
 work, and on which the last material touch of the great 
 sculptor is visible. 
 
 FRAN9OIS FREDERIQUE LE MOT. 
 
 F1;A.\\'U1.S FEEDERIQUE LE mot, or Lemot, 
 was born at Lyons in 1773. Having a natural taste 
 for art, he was sent to Paris at an early age to study in 
 the Academy of Fine Arts. When he was seventeen, he 
 gained the Grand Prize of the Academy, and with the 
 royal pension went to Piome to study. After a few years 
 he returned to Paris, where he gained a high reputation, 
 and was made successively member of the Institute of 
 France, Professor in the Academy of Fine Arts, member 
 of the Legion of Honor, Baron, and Chevelier of the 
 Order of St. Michael. 
 
 Among I^ Mot's principal works are bas-reliefs upon 
 the <rrand facade of the colonnade of the Louvre, and 
 marble reliefs for the tribune of the Chamber of Deputies, 
 in Pari.s. For his native city he executed a colo.ssal 
 equestrian .statue of Louis XIV. Among his other ad- 
 mired works are Leouidas, Brutus, and Cicero. He died 
 in 1827.
 
 244 SCULPTOES OF THE RENAISSANCE. [irrs. 
 
 SIR RICHARD WESTMACOTT. 
 
 SIE EICHAED WESTMACOTT, a distinguished 
 English sculptor, was born in London in 1775. 
 Manifesting a decided talent for sculpture he was sent to 
 Eome for study when quite young. He became a pupil 
 in the studio of Canova, where he made rapid progress, 
 and for an early work in bas-relief he gained the gold 
 medal of the Academy of St. Luke. He was elected a 
 member of the Academy of Florence when but twenty 
 years of age. After four years of study he returned to 
 London, married at an early age, and established him- 
 self in the practice of his art. His reputation soon 
 became assured, and, ranking among the first of English 
 sculptors, he was extensively patronized by his coun- 
 trymen. He was elected a member of the Eoyal Acad- 
 emy, and, in 1827, succeeded Flaxman as Professor of 
 Sculpture. Ten years later he received the honor of 
 knighthood. 
 
 Westmacott received many commissions for monu- 
 mental sculpture. Among his more elaborate monuments 
 in Westminster Abbey are that erected to Fox, represent- 
 ing the figure of the statesman supported in the arms of 
 Liberty, with the figures of Peace, and a liberated slave 
 at his feet ; and the tomb of Spencer Perceval, represent- 
 ing a recumbent figure upon the sarcophagus, with the 
 mourning figure of Strength at the head, and figures 
 of Truth and Moderation at the foot. The monument 
 to Elizabeth AVarren, wife of the Bishop of Bangor, — 
 considered one of his best works, — represents a poor 
 woman holding her child in her arms, in reference to the 
 benevolence of the deceased lady. His statues of Gen-
 
 iTO.] SIR RICHARD WESTMACOTT. 245 
 
 erals Pakenliam and Gibbs, and of Lord Collingwood, in 
 St. Paul's Cathedral, are noticeable. 
 
 The statue of the Duke of Wellington, called the 
 " Statue of Achilles," near Hyde Park Corner in London, 
 is by Westmacott. It is a copy of one of the Dioscuri 
 on Monte Cavallo at Rome, and was cast from the metal 
 of French cannon captured by the " Iron Duke." 
 
 Westmacott produced numerous -works in ideal sculp- 
 ture ; among wliicli are Cupid and Psyche, a Xymph un- 
 clasping her zone, and Euphrosyne. His works are 
 remarkable for simplicity and purity of style, and his 
 knowledge of art was extensive. He died in London in 
 1856. ^ 
 
 CHRISTIAN FRIEDRICH TIECK. 
 
 CHPtlSTIAN FRIEDPJCH TIECK, a German sculp- 
 tor of note, was born at Berlin in 1776. He was 
 the elder brother of the celebrated novelist and poet, 
 Ludwig Tieck. This sculptor appears to have followed 
 the style of art introduced by Schadow, the development 
 of which produced beautiful results in the School of 
 Perlin at the period in which he labored. He went to 
 Rome in 1805, and became well grounded in the jjrinci- 
 ples of antique art ; he afterwards settled at ]\Iunich fur 
 a time, where he was employed in the execution of vari- 
 ous portrait busts. His most important works are those 
 executed at Berlin, ])articulurly the plastic ornaments of 
 the Tlieatre built Ity the celelirated arcliitect, Schinkd. 
 These works occupied Tieck lor many years. At either 
 side of the steps are two bronze groups representing Genii
 
 246 SCULPTORS OF THE RENAISSANCE. [im. 
 
 riding upon a lion and a panther. Upon the tympanum 
 of the portico he executed a copy of a group of the Chil- 
 dren of JSTiobe, in sandstone. Upon the south tympanum 
 of the principal part of the building are Orpheus and 
 Eurydice, by his hand ; and upon the summit of the 
 building is the Chariot of Apollo, a bronze group by Ranch 
 and Tieck. The figures of the three Horse, which adorn 
 the beautiful mausoleum of Queen Louise at Potsdam, by 
 Eauch, are the work of Tieck. These two artists labored 
 together, and were always firm friends, never disturbed 
 by the slightest feeling of jealousy or envy. 
 
 Tieck was much employed in the representation of mil- 
 itary heroes, and trophies of the late war. His portrait 
 statues and busts are admirable, and are to be seen in 
 many towns in Germany. He died in 1851. 
 
 CHRISTIAN DANIEL RAUCH. 
 
 CHEISTIAN DANIEL EAUCH, one of the most 
 gifted and celebrated of German sculptors, was 
 born at Arolsen, the capital of the principality of Wal- 
 deck, in 1777. He commenced the study of sculpture 
 when young, but on the death of his father, in 1797, he 
 was obliged to relinquish his chosen pursuit and seek 
 remunerative employment. He went to Berlin, and there 
 became valet to the king, Frederick William II. After 
 the death of this prince, Eauch was enabled through the 
 assistance of the new king, Frederick William III., to 
 follow his inclination for sculpture. 
 
 After executing some works which proved his artistic 
 ability, the king provided him with the means of further
 
 1777.] CHRISTIAN DANIEL RAUCH. 247 
 
 prosecuting his studies in Rome. He remained there for 
 six years, devoting himself to his art with great industry, 
 making constant and rapid progress. He enjoyed the 
 friendship of Canova and Thorvaldsen, and of William 
 von Humboldt, who was at that time Prussian Minister to 
 liome. Among his early works are compositions in bas- 
 relief, and portrait busts of various celebrated personages. 
 
 In 1811, Eauch was recalled to Berlin by the king of 
 Prussia to execute the monumental statue of the late 
 Queen Louisa, called " the beautiful queen," in Charlot- 
 tenburg. This work, which was undoubtedly a labor of 
 love, — for the beautiful and amiable queen had been the 
 sculptor's benefactress, — has probably never been sur- 
 passed in purity of feeling and beauty of execution by 
 any modern production in sculpture. In it are com- 
 bined the truth of nature with the softening ideality of 
 antique art ; the sculptured face and form of the Queen 
 are of perfect beauty, while the resemblance is most 
 marked. The figure is extended in the attitude of tran- 
 quil rest upon the marljle sarcophagus ; the face and 
 neck, and a portion of the arms, are bare ; the rest of the 
 figure is shrouded in drapery. At the foot of the sar- 
 cophagus — which is more like a pleasant couch than a 
 receptacle for the dead — is the Prussian eagle, which 
 was modelled from a living eagle captured in the Apen- 
 nines. King Frederick William III., who died in 1840, 
 was buried beside the Queen, and his monument also 
 was execuUid by Pauch, — a recumbent statue wrapped 
 in a cloak. 
 
 A beautiful statue of Queen Louisa by Pauch is in the 
 Antique Temple in the Garden of Sanssouci, at Potsdam. 
 
 The monuments of Queen Frederica and King Ernest 
 Augustus at Herrenhausen, Hanover, are also the work 
 of Pauch.
 
 248 SCULPTORS OF THE RENAISSANCE. [im 
 
 But his chief work is the monument to Frederick 
 the Great, in Unter den Linden, at Berlin. This work, 
 finished in 1851, occupied more than ten years, and it is, 
 perhaps, the grandest work of the kind in Europe, and 
 is certainly one of the most original and magnificent 
 works of modern sculpture. The whole is bold and effect- 
 ive, and it is dignified and masterly in all its details. 
 It is a pyramidal structure crowned with a colossal eques- 
 trian statue of the King. The granite pedestal, which is 
 twenty- five feet in height, presents on its four sides 
 bronze groups of the chief personages of the reign of 
 Frederick the Great, including military commanders, 
 statesmen, and men of letters ; among them is the figure of 
 Graun, the King's favorite musical composer. The figures 
 are life-size, and were produced from the most authentic 
 portraits and descriptions. The costumes and arms of 
 the time are all accurately given. At the corners of the 
 upper section of the pedestal are figures of the Virtues, 
 and upon the sides bas-reliefs, illustrating emblematically 
 different periods in the life and career of the warrior-king. 
 The equestrian statue is a little over seventeen feet in 
 height ; the figure is true to life, and the details are accu- 
 rately given with the exception of an ermine mantle 
 which hangs from the shoulders, giving a more stately 
 bearing as well as a more picturesque grace to the figure 
 and attitude. It is said that the sculptor was censured 
 for this addition, as the monarch never wore an ermine 
 mantle ; but he pleaded in defence that the figure would 
 have looked puny and insignificant at such an elevation 
 without the drapery. A beautiful bronze reduction of 
 this monument, seven and one half feet in height, is in 
 the Corcoran Gallery of Art in Washington. 
 
 In the Orphanage at Halle is a group by Ranch repre-
 
 1777] CHRISTIAN DANIEL RAUCH. 249 
 
 senting the noble founder of the institution, August Her- 
 mann Francke, standing with a child at either side of 
 him. The figure of Fi-aneke is expressive of gi-eat be- 
 nevolence and sincerity, and the two lifelike children are 
 looking up to him with the most coutiding affection ex- 
 pressed in their faces and attitudes. This artist has not 
 been surpassed in the expression of the nobler traits of 
 humanity ; and this always without departing from the 
 conscientious reproduction of individual nature. Among 
 bis most admired productions in symbolical art are the 
 marble " Victories " in the German Temple of Fame, 
 the Wallialla, at Ratisbon, iu which " the character of 
 victory-giving divinities is combined with the individual 
 expression of common human feeling." 
 
 At Breslau is a statue of Bliicher which is remarkable 
 among the works of Eauch for its picturesque animation, 
 and is said to be from a desifm of Schadow. His mon- 
 ument of the same general, in Berlin, is in his own more 
 calm and severe style. In the same square are his stat- 
 ues of Generals Gneisnau and York. In Nuremberg is a 
 statue of Albert Diirer, by liauch ; this noble memorial 
 has been raised in the Dlirer-Platz, not far from the house 
 of Albert Diirer, now for many years the property of the 
 city. 
 
 Iq the Max-Joseph-platz in ]\Iunich is luauch's fine 
 monument of King Max-Joseph, erected on the twenty- 
 fifth anniversary of his accession to the throne. It is 
 a colossal seated figure of the monarch upon a pedestal 
 which is adorned with reliefs emblematical of Agricul- 
 ture, Art, Constituticjn, and lieligious Toleration. 
 
 Another very admirable work is a group iu the cathe- 
 dral at Posen, the most ancient town in Poland, and till 
 129G the residence of the Polish kings. Iu 1842 the
 
 250 SCULPTORS OF THE RENAISSANCE. [iT77. 
 
 Golden Chapel of this church was erected and sumptu- 
 ously adorned by a society of Polish nobles, and here are 
 Eauch's noble statues, in gilded bronze, of the first two 
 Christian kings of Poland. His statue of Kant at Konigs- 
 berg, and that of Thaer at Berlin, are among his latest 
 works. 
 
 A religious work in the atrium of the Friedenskirche 
 at Potsdam, belongs to his later years. It is a marble 
 group representing Moses in prayer, supported by Aaron 
 and Hur. Dr. Liibke says : " Designed, as a whole, with 
 unsurpassable beauty of lines, it is somewhat too general 
 in form, — a fault nowhere to be found in any other of 
 Eauch's ideal works. The reason for this probably lies 
 in the thoroughly unplastic nature of the subject, the 
 significance of which can only be represented in a relief, 
 or, still better, in a painting. From its isolation the 
 work has acquired an air of chilling design, and we feel 
 as if the task had been urged upon the master of repre- 
 senting the idea of the ruler's power, supported by the 
 priest and soldier. With this idea. Sculpture compounded 
 as far as she was able, and, at any rate, has produced a 
 masterpiece of plastic lines." 
 
 Eauch's portrait statues and busts, of which he exe- 
 cuted a great number, are especially admirable. Without 
 suppressing individual characteristics, he succeeded in 
 imparting an ideal nobleness which elevates his subjects 
 above the ordinary. His productions are numerous, and 
 his latest works are marked by the same freshness and 
 energy that distinguished those of his earlier time. His 
 influence upon the School of Berlin, both by teaching and 
 example, was salutary, and his position in the history of 
 modern sculpture is important. He was a man of very 
 noble character, of extensive culture, and charming man-
 
 im] CHRISTIAN DANIEL RAUCH. 251 
 
 ners. "With the most emineut men of his time he asso- 
 ciated on terms of intimacy ; his home was the centre of 
 agreeable social intercourse, and his studio was the resort 
 of students and travellers interested in sculpture. He 
 died in Dresden in 1857. 
 
 One of his pupils said of him : "Kauch was thoroughly 
 healthy in body and mind. He did not like extravagance 
 in feeling, fantasies, or moods, nor yet passionate ambi- 
 tion. He expected that others, like himself, should liave 
 a real love for art, and be absorbed in it, — yet neither too 
 much nor too little, all in equilibrium, — and that they 
 should do their very best. Let every one soar as higli as 
 his wings could carry him, but let him not torment him- 
 self with a vain ambition to mount higher. He was re- 
 lentless to himself, and, when dissatisfied with his work, 
 he would destroy the result of months of labor and begin 
 again. He strove like a young man, and took as much 
 pains as if he had achieved no success. He was modest 
 in tlie truest sense of the word. I have heard hun say 
 things that might have shamed thousands. He was also 
 entirely devoid of envy, and was delighted with any good 
 work, whetlier by a master like Thorwaldsen, or some 
 obscure artist, and tried to make every one share his 
 pleasure. He kept youthful to the end, for he undertook 
 every fresh work with as much zeal as if it had been the 
 first ; and his best work, the monument of Frederick the 
 Great, was completed in his seventieth year."
 
 252 SCULPTORS OF THE RENAISSANCE. [ins. 
 
 MATHEW COTES WYATT. 
 
 MATHEW COTES WYATT was born in London, in 
 1778. He was the son of James Wyatt, the dis- 
 tincjuished architect. He was educated at Eton. Havino- 
 a natural taste for art, he turned his attention to sculp- 
 ture, and soon acquired such skill as to win the patronage 
 of the royal family. He was employed in numerous 
 decorative works at Windsor Castle. Among his pro- 
 ductions, the monument to the Princess Charlotte in St. 
 George's Chapel was greatly admired by many. The 
 dead body of the princess is represented surrounded by 
 weeping mourners, while, above, the spirit is represented 
 ascending to heaven. Wyatt was also employed in mon- 
 umental sculpture for Westminster Abbey and St, Paul's 
 Cathedral. 
 
 The noble equestrian statue of the Duke of Wellington 
 upon the top of Green Park Arch, in front of Apsley 
 House, the residence of the Duke, is by this sculptor. 
 It represents him upon his horse, " Copenhagen," on the 
 field of Waterloo. " On fine afternoons the sun casts the 
 shadow of the Duke's equestrian statue full upon Apsley 
 House ; and the sombre image may be seen gliding spirit- 
 like over the front." 
 
 His statue of George TIL, in Pall Mall, in London, is 
 among his best works. The monument to Lord Nelson, 
 in Liverpool, is also by Wyatt. 
 
 He died in 1862.
 
 1781.] SIR FRANCIS CIIAXTREY. 253 
 
 SIR FRANCIS CHANTREY. 
 
 SIR FRANCIS CHAXTREY, an eminent English 
 sculi>tor, was born at Jordanthorpe, in Derbyshire, 
 in 17S1. His father, who was a carpenter in poor cir- 
 cumstances, died wlien Francis was only twelve years 
 of age. Mrs. Chantrey gave her son such advantages of 
 education as her limited means would permit, but these, 
 it seems, were very meagre. In 1797 he was apprenticed 
 to a carver and gilder in Shetfield, where he acquired the 
 rudiments of his future art. He was fond of modelling 
 in clay, and by the help of casts from the faces of his 
 fellow-apprentices and his own, he produced models of 
 considerable excellence. He displayed a taste for paint- 
 ing also, and executed some portraits in miniature. He 
 received some instruction in painting, but sculpture proved 
 to be his true vocation. 
 
 Chantrey remained five years w4th the Sheffield manu- 
 facturer, and afterwards went to London and to Dublin, 
 probably in the capacity of a journeyman carver and 
 gilder, but the circumstances of his career at tliis period 
 are not accurately known. He later became a pupil at 
 the Royal Academy in London, and in 1804 exhibited a 
 portrait in oil. In the following year he exhibited sev- 
 eral busts, which gave proof of his ability in sculpture. 
 It is .said that Xollekens was one of the first to recognize 
 the merits of Chantrey as a sculptor, and to promote his 
 success. Though laboring in the same department in 
 which he was him.self eminent, Nollekens seems to have 
 felt no envy or jealousy, but in an exhibition at the 
 Academy ordered one of his own l)usts to be removed 
 that one by Chantrey might be put in its place.
 
 254 SCULPTORS OF THE RENAISSANCE. [mi. 
 
 In the early part of his career as an artist, Chantrey 
 was on one occasion invited to dine with the poet Samuel 
 Eogers. Observing his guest looking intently at the side- 
 board, the host inquired the reason. " Don't you remem- 
 ber," replied the sculptor, " getting out your prints, and 
 directing those carvings to the man who made that side- 
 board, and that a boy with him copied the engravings ? — 
 that was me, and I carved them." 
 
 In 1818 Chantrey became a member of the Royal 
 Academy; the following year he visited Italy, and was 
 elected a member of the Academies of Eome and Florence. 
 After his return to England he continued his labors with 
 success, executing many portrait busts and statues, and 
 some ideal works in sculpture. In 1835 he received the 
 honor of knighthood from William IV. 
 
 lu ideal sculpture Chantrey does not occupy a high 
 rank, but his portraits are remarkable for truth to nature. 
 He executed a great number of statues and busts of his 
 eminent contemporaries. Among his best works is a 
 colossal statue of James Watt, in St. Paul's Chapel of 
 Westminster Abbey. It is considered a perfect likeness 
 of the great engineer. Other portrait statues by him are 
 to be seen in Westminster Abbey. In St. Paul's Cathe- 
 dral is a kneeling figure of Bishop Heber by Chantrey. 
 In the State House at Boston is a statue of Washington 
 by him. 
 
 Sir Francis died in 1841. He had accumulated a large 
 fortune, which he bequeathed to his wife during her life, 
 and afterwards to the Eoyal Academy for the encourage- 
 ment of English art. Lady Chantrey died in 1875, and 
 her husband's fortune passed to the Academy.
 
 1781] FRANCOIS RUDE. 255 
 
 FRAN9OIS RUDE. 
 
 FRANCOIS EUDE was an eminent French sculptor, 
 born at Dijon, in 1784. In 1812 be went to 
 Home, where lie remained for twelve years, or longer. 
 His study of antique art there is manifest in bis works. 
 He had also a fine feeling for nature, and bis creations 
 are remarkable for freshness and lifelike expression. 
 
 For the Arc de I'liltoile in Paris, Paide sculptured in high- 
 relief his " Marseillaise," a representation of the French 
 marching forth for the defence of the Eepublic, in 1792. 
 Above the groups of the soldiery hovers the forbidding 
 figure of Bellona, the goddess of war, described by one 
 writer as " vehemently striding forwards in spite of her 
 large wings, so that she looks exactly like an equestrian 
 performer standing on two horses." In her coarse fierce- 
 ness of aspect, however, she is not an inappropriate rep- 
 resentation of tbe murderous goddess w^hose only delight 
 is in devastation and death. 
 
 In the cemetery of Montmartre is the monument of 
 Godefroy Cavaignac, the French republican chief, by 
 liude. It is admirably executed, but unpleasantly natu- 
 i-alistic in style. He executed a statue of Joan of Arc, 
 in marble, for the gardens of the Luxembourg, which is 
 a very beautiful work. The heroine is represented with 
 bead upraised, in the attitude of listening to the voice of 
 the Virgin, which declares to her her mission : — 
 
 "Then she touched 
 Mine eyelids, and as I upward turned my gazo 
 All heaven wa.s full of anj^el-boys 
 Will) l>«re while lilies in their hands. 
 And sweetest music floated in the air."
 
 256 SCULPTORS OF THE RENAISSANCE. [1784. 
 
 The rapt and listening look upon the face is finely ren- 
 dered. In the gardens of the Luxembourg is also Eude's 
 statue of Marshal Ney in bronze. It stands upon the 
 spot where the Marshal was shot, in 1815. 
 
 In the Louvre is a brazen Mercury by Eude, which is a 
 spirited production. He died in 1855. 
 
 JOHANN RUDOLF SCHADOW. 
 
 JOHANN EUDOLF SCHADOW, son of Johann Gott- 
 fried, was a sculptor of considerable note. He was 
 instructed in art by his father, and in Eome studied 
 under Canova and Thorvaldsen. He executed a number 
 of mythological subjects, some of which were much ad- 
 mired, and he produced various portrait busts. His last 
 work, left unfinished at his death, is declared to combine 
 the grandeur of Thorvaldsen and the grace of Canova. 
 It is a group representing Achilles and Penthesilea. He 
 died in 1822. 
 
 PIERRE JEAN DAVID. 
 
 PIEEEE JEAN DAVID, called David of Angers, 
 one of the most eminent sculptors of France, was 
 born at Angers in 1789. His father was a wood-carver, 
 and found so little success in his Avork that he strenu- 
 ously opposed the indulgence of his son's taste in the 
 direction of sculpture. The young man, however, seems 
 to have been determined to follow his inclinations, and 
 through great difficulties he made his way to Paris, and
 
 1789L] PIERHE JEAN DAVID. 257 
 
 entered the studio of David the painter. He was after- 
 wards instructed by Rohmd, Professor of Sculpture in the 
 Academy of Fine Arts. After gaining several academic 
 prizes, he won, in 1811, the Gi-and Trize, which enabled 
 him to study in Kome. He remained in Eome for five 
 years, and on his return, being unwilling to remain in 
 Paris under the Bourbons, he attempted to establish him- 
 self in England, but was unsuccessful. He finally re- 
 turned to Paris, commencing in earnest his artistic career. 
 
 About 1824, David established his reputation by a 
 statue of the Prince of Conde. He executed numerous 
 portrait statues and busts, and medallions, and received 
 commissions for various public and monumental works. 
 In 1825, the Cross of the Legion of Honor was conferred 
 upon him; he was made a member of the Institute, and 
 became Professor in the Academy of Fine Arts. 
 
 In 1831 David was commissioned by the government 
 to adorn the Pantheon at Paris with sculptures. He de- 
 signed for the pediment a large allegorical scene, repre- 
 senting the country bestowing wreaths of victory upon 
 her heroes, in illustration of the inscription upon the 
 building: "Aux grands hommes la patrie reconnaissante." 
 
 I )r. Liibke thus comments upon this work : — " In the 
 centre is the serious figure of the Fatherland, in severely 
 antique drapery; on both sides great men, the heroes of 
 mind and sword, — among them General Bonaparte, who 
 is ha.stily advancing amid the gloomy warriors of the 
 Pepublic, to gain one of the extended wreaths of victory. 
 TIic realistic variety of the groups, in the boldly treated 
 costumes of the period, and the jiicturesque freedom of 
 the arrangement, prevent any really plastic effect, and, 
 in !i\nUi of the spirit and characteristic life disjilayed, we 
 caiujot forget that tlie irrcifragabh; and fundaiucntal laws 
 
 i:
 
 258 SCULPTORS OF THE RENAISSANCE. [1789. 
 
 of architectural plastic decoration are here wantonly and 
 unpleasiugiy trifled with." 
 
 David prefered to employ his talent upon republican 
 subjects, and the production of the portrait statues and 
 busts of those who had been of use to society in their 
 day. Among his works of this class are the spirited and 
 lifelike portraits of Washington, Lafayette, Lamartine, 
 Goethe, Cuvier, Alexander von Humbolt, Eauch, and 
 Tieck. He executed a statue of Thomas Jefferson signing 
 the Declaration of Independence, which is in the Hall of 
 Statuary at Washington. 
 
 David was earnest and enthusiastic in the pursuit of 
 art, and in the history of modern sculpture he occupies a 
 distinguished place. One of his own countrymen says of 
 him : " He combined great talent with a noble mind and 
 an independent spirit, and has left an example of a stain- 
 less life from birth to death." 
 
 He died in 1856, and was buried in P^re la Chaise. 
 
 JACQUES PRADIER. 
 
 JACQUES PEADIER was a French sculptor of high 
 reputation, born in Geneva, in 1790. The taste for 
 art which he displayed in early life was discouraged by 
 his parents, and he was apprenticed to a watchmaker. 
 He displayed so much talent in the ornamental parts of 
 the work that he was permitted to follow his bent, and 
 was placed as a pupil in the School of Design, afterwards 
 entering the studio of the sculptor Lemot. He assisted 
 his master in the sculptures of the Louvre, and in 1813 
 gained the first prize of the Academy of Art in Paris for
 
 1790] JACQUES PRADIEH. 2o9 
 
 the superior execution of a bas-relief. He studied for a 
 time in liome, and then returned to Paris, where he was 
 employed in many public works, and executed besides 
 many admired statues. 
 
 Pradier's works are remarkable for softness and grace, 
 though he could be grand and energetic at times. His 
 execution was good, and he only failed in loftiness of 
 conception. One of his finest works is a Niobe group, 
 now in the Luxembourg. His statues of Psyche and 
 Atalanta, in the same gallery, are pleasing and graceful 
 productions. Prometheus Chained, one of his most vig- 
 orous productions, is in the garden of the Tuileries. 
 
 Pradier executed religious works for several of the 
 churches of Paris, but his talent was little suited to the 
 representation of sacred subjects. Some of the sculp- 
 tures of Ste. Clothilde are by his hand ; and for the Cha- 
 pelle des Mariages of the Madeleine, he executed a Mar- 
 riage of the Virgin. His last work was the execution of 
 twelve colossal figures for the tomb of Napoleon in the 
 Hotel des Invalides, emblematical of the victories of the 
 Emperor. 
 
 Pradier died near Paris, in 1852, and was buried in 
 Pere la Chaise ; a sarcophagus, with a bust of the sculptor, 
 was erected by his pupils. 
 
 THOMAS CAMPBELL. 
 
 THOMAS CAMPBELL, an eminent l^>ritish sculptor, 
 was bom at Glasgow, in 1790. He was apprenticed 
 when young to a marble-cutter, and soon began to display 
 mucli talent for sculpture. A gentleman by whom he
 
 260 SCULPTORS OF THE RENAISSANCE. [i790. 
 
 was employed became interested in him, and generously 
 furnished him the means of studying at the Royal Acad- 
 emy. He afterwards went to Eome, where he remained 
 for several years. After his return to his native country, 
 he was employed in various important works in England 
 and Scotland ; he was more patronized by the nobility 
 than any other sculptor of his time. 
 
 Some of Campbell's finest works in monumental sculp- 
 ture are in St. Paul's in London. A statue of Mrs. Sid- 
 dons, as Lady Macbeth, in Westminster Abbey, is much 
 admired for its character and expression. 
 
 While in Eome the sculptor executed a statue of 
 Pauline Borghese, sister of Napoleon I., for the Duke of 
 Devonshire, which is at Chatsworth. His statue of Lord 
 Bentinck is in Cavendish Square. 
 
 He died in London, in 1858. 
 
 JOHN FRAZEB. 
 
 JOHN" FRAZEE was born in Eahway, New Jersey, in 
 1790. The family name was Eraser, but it was 
 changed by the grandfather of John to Frazee. He is 
 distinguished as the first sculptor of American birth and 
 parentage. His boyhood was attended with misfortune, 
 and passed in drudgery, his mother's instructions, it is 
 said, being the only redeeming element in his early life. 
 He was fond of carving in wood, and having also shown 
 that he could vise the chisel with some skill, he was em- 
 ployed by a stone-cutter. He afterwards became pro- 
 prietor, in company with Launitz, of a marble-yard in 
 New York, and devoted himself to various ornamental
 
 1790] JOHN FRAZEE. 261 
 
 works in stone. The only examples of plastic art he had 
 ever seen were casts from antique sculpture which were 
 sent by Xapoleou to the New York Academy of Fine 
 Arts. Gaining an introduction to Trumbull, then Presi- 
 dent of the Academy, Frazee asked for advice and assist- 
 ance in the study of the art ; but that gentleman declared 
 that "nothing in sculpture would be wanted in this coun- 
 try for a hundred years." The enthusiastic artist was not 
 discouraged by this prophecy, but pursued his way, as 
 best he could, in the development of his beloved art, and 
 he is to be gratefully regarded as one of the pioneers of 
 American sculpture. 
 
 In 1824 Frazee executed a marble bust of John Wells, 
 Esq., which is said to be the first portrait bust by a na- 
 tive sculptor. It was placed in Grace Church, in New 
 York. His first ideal work was a figure of Grief, which 
 he modelled after the death of his child. His principal 
 works consist of portrait busts. In the Pennsylvania 
 Academy of Fine Arts is a bust of the sculptor by him- 
 self, and one of Chief Justice INIarshall. His bust of John 
 Jay is in the United States Supreme Court Pioom. He 
 made busts of various other distinguished Americans. 
 
 JOHN GIBSON. 
 
 yOHX GIBSON, one of the mo.st distinguished of mod- 
 'J ern sculptors, was born at Conway, in North Wales, 
 in 1791. His ance.stors were of Scottish extraction, being 
 descended from the Clan Macgregor ; his grandfather had 
 been forced by the strife of the time to assume the name 
 of Gibson. His father was a market-gardener in Con-
 
 262 SCULPTORS OP THE RENAISSANCE. [i79i. 
 
 way, and removed to Liverpool when he was a lad nine 
 years of age. From his early childhood he had shown an 
 instinctive taste for drawing, and was in the habit of 
 sketching pictures of domestic animals which he saw 
 around him. In Liverpool he began to reproduce the 
 pictures which he saw in the shop windows, displaying 
 considerable skill. 
 
 At the age of fourteen he was apprenticed to a cabinet- 
 maker, but was afterwards placed with a wood-carver. 
 His talent in this branch attracted the attention of influ- 
 ential gentlemen, who gave him not only encouragement, 
 but substantial assistance, which enabled him to follow 
 his strong inclination for art. William Eoscoe, the dis- 
 tinguished historian and patron of literature and the fine 
 arts, invited young Gibson to his country seat, and allowed 
 him to study and copy the fine specimens of ancient ai't 
 in his collection. 
 
 In 1817 he went to Eome, where he was received into 
 the studio of Canova. His first important work was a 
 group of Mars and Cupid, which won high praise from 
 his master, and which was reproduced in marble for the 
 Duke of Devonshire; it is in the collection at Chats- 
 worth. He next produced Psyche borne by the Zephyr, 
 for Sir George Beaumont ; copies of it were also made for 
 Prince Torlonia, and for the Grand Duke of Eussia. 
 
 After the death of Canova, Gibson became the pupil of 
 Thorvaldsen. He had been a faithful disciple of Canova, 
 acquiring the peculiar softness and grace of that master's 
 style, and in the studio of Thorvaldsen he was stimulated 
 to the study of the antique. Thus, without losing his 
 own individuality, he profited by the example and teach- 
 ing of two of the oreatest of modern artists, and formed a 
 style of the highest purity.
 
 1791.] JOHN GIBSON. 263 
 
 In 1836, Gibson was elected a member of the Royal 
 Academy of London, and be occasionally contributed to 
 its annual exhibitions ; but he continued to reside in 
 Piome, making visits, at long intervals, to England. He 
 executed a large number of works from classical subjects, 
 which are remarkable for an exquisite refinement and 
 purity. He introduced the innovation of tinting his 
 sculptures, which occasioned much discussion, and has 
 been condemned by many, although the sculptor defended 
 the practice by a reference to Grecian precedents. 
 
 Among his portrait statues is that of Queen Victoria, 
 now in Buckingham Palace ; and another for the Palace 
 of Westminster, which is placed opposite to the door in 
 the Prince's Chamber. In this portrait of Victoria the 
 sculptor has produced a statue of almost ideal beauty, and 
 yet a remarkable likeness. Allegorical figures of Justice 
 and Clemency, on either side of the Queen, complete the 
 group. For St. George's Hall, in Liverpool, he executed 
 a statue of George Stevenson. In the cemetery of St. 
 James in Liverpool is a fine statue in marble of ]\Ir. Hus- 
 kisson, the eminent statesman, and a duplicate in bronze 
 stands in front of the custom-house. This city is espe- 
 cially rich in the works of Gibson, the inhabitants regard- 
 ing him with great pride. 
 
 Many pul^lic and ])rivate collections in England contain 
 examples of Gibson's sculpture. A fine collection of casts 
 from his best works is in the Cr>'stal Palace at Syden- 
 ham, and an interesting collection of models and sketches 
 which he ])equeathed to the nation is now in a gallery 
 of the Pioyal Academy. 
 
 Mr. Gibson was a bachelor, and spent a life of quiet 
 and single devotion to his art, caring little for anything 
 bej'ond his studio. He was, however, always ready to
 
 2G4 SCULPTORS OF THE RENAISSANCE. [i79i. 
 
 bestow friendly encoui^gement and assistance upon young 
 artists who visited Eome for improvement, and his studio 
 was the resort of patrons and lovers of art. He died in 
 Eome in 1866. 
 
 WILLIAM BEHNES. 
 
 "TTTILLIAM BEHNES was born in London, in 1794 
 
 V V His father was a German piano-forte maker, 
 who had married an English wife and settled in London. 
 He first learned his father's trade, at which he became 
 a very skilful workman ; but having a taste for art, he 
 commenced painting, and met with considerable success 
 as a portrait-painter. He then undertook sculpture, and 
 his success in this branch brought him fame and distin- 
 guished patronage, though it is said that he afterwards 
 regretted having abandoned his brush for the chisel. He 
 produced portrait statues and busts of very great excel- 
 lence, and was much employed by members of the royal 
 family, and by various public bodies, in the execution of 
 monumental works. 
 
 Behnes's works, which are perhaps more numerous than 
 those of any other sculptor of modern times, are remark- 
 able for clearness of conception and vigorous execution. 
 He excelled especially in the delineation of childhood. 
 
 Among the best of his statues is that of Dr. Babington, 
 in St. Paul's Cathedral. In Westminster Abbey is his 
 monument to Dr. Andrew Bell. A statue of Sir Henry 
 Havelock, by him, is in Trafalgar Square. 
 
 Though enjoying unusual success in early life, his 
 affairs later became much embarrassed, and the aged 
 sculptor died in Middlesex Hospital, in 1864.
 
 ires.] ANTOIXE LOUIS BARYE. 265 
 
 ANTOINE LOUIS BARYE. 
 
 AXTOIXE LOUIS BAPvYE, a French sculptor of 
 animals, ^Yas born at Paris in 1795. He was the 
 son of poor parents, and it may be said that the prelimi- 
 nary knowledge of his future art was gained when, as a 
 child, he frequented the Jardin des Plantes. His extraor- 
 dinary interest in the menagerie attracted the attention 
 of an old keeper, who gave him much information regard- 
 ing the habits of various animals. At the age of thirteen 
 he was placed in the studio of the engraver Fourier ; he 
 studied also under Bosio and Gros, and finally became a 
 pupil at the Academy of Fine Arts. 
 
 For many years Barye labored without much success, 
 and he was past middle age when his productions began 
 to receive the appreciation they had long deserved. The 
 first work which attracted general attention was his now 
 famous Lion, in bas-relief upon the Colonne de Juillet, 
 in the Place de la Bastille, which commemorates the Eevo- 
 lution, and the " July heroes " who were buried on the 
 spot. The lion, as a symbol of the eventfid month, is 
 carved upon the pedestal of the column, — a massive 
 figure, full of strength and life. 
 
 Barye's works were exhibited at the Salon for many 
 years. In 1848 he was appointed Keeper of Models and 
 Moulds at the Louvre. In 1850 he was intrusted with 
 the care of the natural history courts of design at Ver- 
 Bailles, and in 1854 received charge of those at the Paris 
 Museum. 
 
 As a sculj)tor of animals this artist was almost un- 
 rivalled. Among his masterpieces are a Lion strangling 
 a Boa, in the gardens of the Tuileries ; and a Jaguar
 
 266 SCULPTORS OF THE RENAISSANCE. [i795. 
 
 devouring a Hare, in the gallery of the Luxembourg. Four 
 allegorical figures of Peace, War, Force, and Order, by 
 Barye, adorn the pavilion of the new Louvre. 
 
 A very large collection of Barye's works were pur- 
 chased in 1873, for the Corcoran Gallery of Art in Wash- 
 ington, from the artist himself ; it numbers more than a 
 hundred pieces, and consists of a great variety of subjects 
 conceived and executed in his vigorous and realistic 
 style. 
 
 Mr. MacLeod, in his account of this artist and his works, 
 relates an incident illustrating his marvellous knowledge 
 of the nature and instincts of animals : " When Gerome 
 had painted the lions in his ' Christian Martyrs,' he called 
 in Barye to see liis treatment of the beasts, which he had 
 represented as just released, with eager, ravenous looks, 
 ready to spring upon the victims. Barye at once said 
 that it was not natural, — that the hungriest lion, sud- 
 denly confronting the bright air and a crowded arena, 
 would hesitate and recoil bewildered at the sight. Ge- 
 rome took the hint, and always met the compliments 
 upon the fine conception of his lions by giving the merit 
 ta Barye." 
 
 Mr. Barye was a man of most simple and unpretending 
 manners, leading a singularly quiet and unostentatious 
 life. Though success came late, his genius was eventu- 
 ally fully recognized and rewarded, and he bore the rep- 
 utation of "the first animal sculptor of France." 
 He died in 1875.
 
 1795] mCllAIlD J. WYATT. 267 
 
 RICHARD J. WYATT. 
 
 EICIIARD J. WYATT \va.s born in London in 1795. 
 He studied iu London under Eossi for seven 
 yeai-s, after which he went to Paris and became the pupil 
 of Bosio. Later he went to Rome, where the greater 
 part of his Ufe was spent. He was intimate with Canova, 
 and profited much by the advice and instruction of the 
 illustrious sculptor. Wyatt was an artist of great in- 
 dustry, and produced a large number of works which are 
 distinguished by purity of style and elegance of finish. 
 He died iu 1850. 
 
 PHILIPPE HENRI LEMAIRE. 
 
 PHILirPE HEXPtI LEMAIRE, a French sculptor, 
 was born at Valenciennes in 1798. He studied 
 in France, and, after attaining to considerable eminence 
 in his profession, went to Rome for study, devoting him- 
 self to the classic style. Between 1826 and 1834 he 
 executed the relief for the pediment of the church of the 
 Madeleine in Paris, which is his most remarkable pro- 
 duction. It is one hundred and twenty-five feet in length, 
 and twenty-three feet in height, representing, in high 
 relief, the Last Judgment. In the centre is a colossal 
 figure of Christ ; on his right are tlie righteous, with the 
 angel who has just sounded the last trump; on his left 
 are the wicked, with Mary Magdalene in intercession for 
 them. Liibke says of this work: "This sul)ject, which 
 the Middle Ages, with their symbolic arrangement, could
 
 268 SCULPTORS OF THE RENAISSANCE. [i798. 
 
 depict so excellently, and could gradate so perspectively, 
 is opposed to the arrangement of a temple pediment, 
 which unites on the same plane of surface the Judge 
 of the world, the Angels and Saints, the risen and the 
 condemned." 
 
 The pediment of the church of St. Vincent de Paul in 
 Paris is adorned with a relief by Lemaire representing St. 
 Vincent de Paul with the figures of Faith and Charity on 
 either side. In the little Chapelle Expiatoire, erected 
 to the memory of Louis XVI. and Marie Antoinette, who 
 were buried on the spot, is a bas-relief by Lemaire, exe- 
 cuted above the entrance in the interior, representing the 
 removal of the remains of the king and queen to St. 
 Denis, in 1817. 
 
 Some of Lemaire's sculptures are to be seen in the 
 Gallery of the Luxembourg, He died in Paris, in 1880. 
 
 RICHARD 'WESTMACOTT. 
 
 RICHAPtD WESTMACOTT, eldest son of Sir'Ptichard 
 Westmacott, was born in London in 1799. He 
 received his first instruction in art from his father, and 
 at the age of nineteen entered the Ptoyal Academy, where 
 he remained for two years. He was then sent to Italy 
 for study, where he remained six years. After his return 
 to England, he was much occupied with the production 
 of works of an imaginative character. In 1849 he was 
 elected a member of the Eoyal Academy, and in 1857 
 he succeeded his father as Professor of Sculpture. 
 
 The works of this artist are chiefly of a devotional and 
 classical character, though he executed a number of por-
 
 1799] RICHARD WESTMACOTT. 269 
 
 trait busts. They are rather remarkable for grace than 
 for power, and they manifest careful study and thorough 
 knowledge of art. 
 
 Among his principal works are sepulchral monimients : 
 in the cathedral of Canterbury, a recumbent statue of Dr. 
 Howley, Archbishop of Canterbury ; the monument of the 
 Earl of Hardwicke, at Wimpole ; and a bas-relief repre- 
 senting Wycliffe preaching to the people in the church 
 at Lutterworth. Examples of his classical productions 
 are in various English collections. 
 
 "SVestmacott's opinion "svas accounted of value upon all 
 matters pertaining to his profession, and he was the 
 author of various works upon art, the principal of which 
 is a " Handbook of Ancient and Modern Art," published 
 in 18G4. He died in 1872. 
 
 LUDWIG MICHAEL SCHWANTHALER. 
 
 LUDWIG MICHAEL SCHWANTHALER, one of 
 tlie most eminent among modern German sculp- 
 tors, was born in ^lunich in 1802. His father was a 
 sculptor of small reputation, wlio placed him in the 
 Academy at Municli, where he received his early edu- 
 cation in art. The talents of the young man attracted 
 the attention of King ^laximilian, who engaged him to 
 decorate a silver table-service with reliefs, representing 
 the entrance of the younger deities to Olympus. This he 
 accomplished in so acceptable a manner that he was em- 
 jjh)yed to execute reliefs for the decoration of the Glyp- 
 tdthek. He went to Rome, where he passed a year in 
 stufly, and while tliere produced the bas-reliefs of the
 
 270 SCULPTORS OF THE RENAISSANCE. [1802. 
 
 Birth of Venus, and Cupid and Psyche, which are in the 
 Glyptothek. He afterwards executed for the same edi- 
 fice two fine bas-reliefs illustrating scenes from Homer, 
 known as the Battle by the Ships, and Achilles strug- 
 gling in the Scamander. The Koyal Palace he also dec- 
 orated with reliefs of the Crusades. Of these Dr. Liibke 
 says : " An overwhelming imagination and a rare inex- 
 haustibleness of invention gush forth in these works, and 
 prove what ease of production belonged to the master. 
 In the richness of his creative power he stands, perhaps, 
 foremost among all modern sculptors. But the weakness 
 of an enfeebled frame, and probably also the rapidity 
 with which King Ludwig urged forward his Munich 
 works, rarely allowed Schwanthaler to arrive at a pure 
 perfection of form, so that most of his productions, in 
 spite of the spirited life of the design, fail in presenting 
 a truly lifelike impression, and rather acquire a super- 
 ficial and decorative effect." 
 
 Among his chief works are the pediment sculptures 
 of the Walhalla at Eatisbon. This building, founded by 
 King Ludwig in 1830, is one of the most magnificent, 
 structures in the world. It was designed by Klenze, of 
 the purest Doric order, constructed of gray marble, and 
 surrounded by fifty-two fluted columns. Upon the north 
 pediment, Schwanthaler represented the battle of Armi- 
 nius; and upon the south, Germania regaining her liberty 
 after the battle of Leipsic. 
 
 In the Loggie of the Pinakothek at Munich are twenty- 
 four statues of celebrated painters by Schwanthaler. In 
 front of the Hall of Fame (Ruhmeshalle) is a colossal 
 ideal statue of Bavaria, which is considered one of his 
 masterpieces. This colossal work is of bronze, sixty- 
 nine feet in height, exclusive of the pedestal, and is of
 
 1802.] LUDWIG MICHAEL SCHWANTHilLER. 271 
 
 monumental grandeur. He executed various memorial 
 statues, among which are those of Mozart at Salzburg ; 
 Jean Paul at Baireuth ; and Goethe at Frankfort. The 
 latter was erected in 1844, and represents the figure of 
 the poet standing, with a wreath of laurel in his hand, 
 upon a pedestal adorned with reliefs, representing scenes 
 from his writings. 
 
 The Propyla3a at ^luuich, a building in imitation of 
 the Acropolis at Athens, is ornamented with sculptures 
 by Schwanthaler representing scenes from the Greek wars 
 of independence, and the regime of King Otho. In the 
 palace of the Duke Max is a marble frieze representing 
 the story of Bacchus, by this sculptor. For the entrance 
 to the library he executed statues of the founder, Albert 
 v., and the builder, Lewis I. Above the portal of the 
 Ludwigskirche, built between 1829 and 1842 by Gart- 
 ner, are statues of Christ and the four Evangelists, by 
 Schwanthaler. For the porch of the Festsaalbau he ex- 
 ecuted eight allegorical figures in marble limestone ; and 
 for the throne-room of the same building, twelve gilded 
 bronze statues of the ancestors of the house of Wittels- 
 bach. 
 
 In 1835 this sculptor was appointed Professor in the 
 Academy of Fine Arts at Munich. He died in 1848, and 
 was buried in the New Cemetery, — a burial-place after 
 the style of the Campo Santo at Pisa, and that at Genoa, 
 — the finest in Germany. The tombs at the right and 
 left of tlie entrance are those of Schwanthaler the sculp- 
 tor and Gartner the architect.
 
 272 SCULPTORS OF THE RENAISSANCE. [1802. 
 
 AUGUSTUS KISS. 
 
 A UGUSTUS KISS was a Prussian sculptor, born at 
 J-J^ Pless, in Upper Silesia, in 1802. He studied in 
 the school of Eauch, and became distinguished for his 
 powerful delineation of natural life. One of his most 
 famous works is the bronze group of the Amazon on 
 horseback attacked by a lioness, upon the steps of the 
 Old Museum at Berlin. It is full of violent action ; the 
 horse, frantic with fear and pain from the teeth and 
 claws of the lioness, is modelled with great power. It 
 appears that the sculptor contemplated a companion group 
 for the Amazon, but he did not live to carry out the 
 design. Kiss executed various monuments and portrait 
 statues in bronze. 
 
 At Breslau, in the Grosse Eing, a square in the central 
 part of the town, is his equestrian statue of Frederick the 
 Great, erected in 1842. In the Pennsylvania Academy 
 of Pine Arts is the artist's model for this work. In the 
 same square, in Breslau, is his statue of Frederick Wil- 
 liam III., erected in 1861. At Konigsberg, in the Konigs- 
 Garten, is his equestrian statue of the last-named mon- 
 arch, erected by "grateful Prussia" in 1851. Upon the 
 pedestal are reliefs, representing scenes in the life of the 
 king. The statue of the same king which adorns the Wil- 
 helms-Platz in Potsdam was likewise designed by Kiss. 
 
 For the church of St. Nicholas in Potsdam, Kiss exe- 
 cuted above the entrance a relief of the Sermon on the 
 Mount, after a design by Schinkel, who was architect of 
 the building. For the Park of Sanssouci he designed 
 a fountain with six colossal sea-horses. 
 Kiss died in 1865.
 
 iwa] AUGUSTUS KISS. 273 
 
 Among other sculptors of the school of Eauch should 
 be mentioned Herman Schievelbein (1817-G7). He 
 was an artist of profound feeling, and great richness of 
 imagination. The group at the back of the Old ]\Iuseum 
 in Berlin, representing Pegasus caressed by the Hora?, is 
 in part the work of Schievelbein. His principal M'ork is 
 the magnificent frieze, two hundred feet in length, which 
 adorns the Greek Court of the New INIuseum at Berlin, 
 representing the iTiin of Pompeii. Its scenes of wild 
 despair are most movingly depicted; in spite of its terri- 
 ble nature, it is full of jDoetic beauty. 
 
 EHEixnoLD Begas, a later follower of the school, is the 
 author of various spirited productions, among which is 
 the Schiller monument, erected in the Schiller-Platz in 
 Berlin, in 1871. This beautiful monument is of Carrara 
 marble ; the figure of Schiller, nine feet in height, par- 
 tially enveloped in a mantle, stands upon a pedestal at 
 the four corners of which are allegorical figures of dra- 
 matic and lyric poetry, historical composition, and phi- 
 losophy. 
 
 In the "VVerder church, in Berlin, is an altar-piece by 
 Begas, representing the Resurrection. 
 
 ERNST RIETSCHEL. 
 
 ERXST ItlETSCIIKL, one of the most eminent among 
 modern German sculptors, was born at Pulsnitz 
 in Saxony, in 1804. His parents were very poor, but 
 were intelligent and refined beyond their class. Ernst 
 inherited a love of books and study, and was especially
 
 274 SCULPTORS OP THE RENAISSANCE. [i804. 
 
 fond of pictures ; he also began when very young to try 
 to draw what interested him, and when his father could 
 spare a few groscheu to buy him some engravings or 
 cheap water-colors his happiness was complete. He 
 copied flowers and butterflies, and read every book he 
 could get hold of, useful or otherwise ; and thus, though 
 doomed to hard work and poor fare, his childhood was 
 not an unhappy one. He said in after life : " I do not 
 pity any child for having been brought up in poverty and 
 privation, so long as want, severity, or condescending pity 
 do not stifle the better feelings, or make him abject." 
 
 When sixteen years of age Ernst was apprenticed to a 
 shopkeeper, for he did not wish to learn a trade ; but his 
 master soon became discouraged, declaring that the boy 
 was a blockhead, with no notion of trade. The shop- 
 keeper's clerk was kinder and more observant ; he once 
 said to Ernst : " Look here, you ought to be a painter ; 
 you are not cut out for a shopkeeper. There is an Acad- 
 emy in Dresden where you can study for nothing. Talk 
 to your father about it." 
 
 This delightful possibility was a beacon to the boy; 
 and though his father looked upon the proposal as a sort 
 of desperation, he finally, through the influence and as- 
 sistance of some friends, became established as a student 
 at the Academy in Dresden, in 1820. He lived in great 
 privation, but labored with passionate ardor for three 
 years. At the end of that time he was induced to en- 
 gage in the work of modelling for an iron foundry, and 
 three years were spent in the study and practice required 
 for this branch of art, under poor, or indifferent teachers. 
 The artist afterwards counted it as time lost, or worse ; 
 for he had adopted many things which it required more 
 time to unlearn.
 
 iKH] ERNST RIETSCHEL. 275 
 
 In 1826 Rietschel ^-ent to Berlin and became a student 
 in the atelier of Eaucli, where he made rapid progress 
 under a most sympathetic luaster. A few years later he 
 became entitled to the Grand Prize of the Academy of 
 Berlin, for the execution of a bas-relief illustrating the 
 story of Penelope ; but being a subject of Saxony instead 
 of Prussia, it was found that the statutes of the Academy 
 forbade his receiving the accompanying annuity, which 
 would enable him to study in Eome. However, upon 
 the recommendation of the Berlin Academy, hi§ own gov- 
 ernment paid the stipend, and he was enabled to i)ursue 
 his studies in Italy. Previous to his departure he ac- 
 companied Pauch to Munich, where he assisted him 
 upon the monument of King Maximilian Joseph, and 
 modelled one of the figures for the pediment of the 
 Gl}'ptothek. 
 
 In studying the art treasures at Florence he found 
 great enjoyment. The sculptures of Ghiberti, Verocchio, 
 and Luca della Robbia, and the paintings of Masaccio 
 and Ghirlandajo, especially attracted him. Michael An- 
 gelo did not at first please him, as he honestly confessed, 
 but in his mature time the works of the great Florentine 
 were appreciated by him as they have been by few mod- 
 ern sculptors. 
 
 After liietschel's return to Germany, the first public 
 work with which he was commissioned was a colossal 
 bust of Luther for the Walhalla at Munich. He wrote 
 to his master, Pauch: "I am to make a bust for the Wal- 
 halla, and only guess of whom ! Luther ! I am more 
 pleased tlian I can say." Singularly, the subject which 
 formed the real beginning of his artistic career was the 
 same with which it closed, in the full maturity of his 
 powers.
 
 276 SCULPTORS OF THE RENAISSANCE. [i804. 
 
 In 1832, Eietscbel settled in Dresden, and was ap- 
 pointed Professor of Sculpture in the Academy. With 
 a happy home and congenial labor, this period may be 
 considered the happiest of the artist's life. He said : " I 
 dare not ask God for more happiness. He has given me 
 more than I ever ventured to hope for. May He grant 
 me one thing more, — the abiding consciousness of my 
 happiness, that I may thankfully prize it, and not lose 
 heart too soon if the sun does not always shine." He 
 labored with great assiduity for many years. His duties 
 at the Academy were arduous, and he was also much 
 occupied with commissions for various public works. In 
 all his undertakings, his aim was perfection; in one 
 of his note-books was found written, " It has always 
 touched me and filled me with admiration, that the 
 figures on the pediment of the Parthenon are as highly 
 finished on the wall side as in front," — and the same 
 principle was apparent in Eietschel's own productions. 
 
 For the ornamentation of the Theatre at Dresden (de- 
 stroyed by fire in 1869) he produced various allegorical 
 and mythological works, which were characterized by a 
 lively grace. Por the New Museum, Eietschel and Hah- 
 nel executed the plastic ornaments, consisting of reli- 
 gious, mythological, and historical subjects. The "At- 
 tica " is adorned with six large statues ; — those of Giotto, 
 Holbein, Dlirer, and Goethe are by Eietschel; those of 
 Dante and Cornelius, by Hahnel. 
 
 In the space enclosed by the New Museum is the 
 elaborate monument to Frederick Augustus, in bronze, by 
 Eietschel. The figures of Justice, Beneficence, Piety, and 
 "Wisdom, which form a part of it, are very fine. 
 
 For the Saxon Agricultural Society he executed a 
 statue of Albrecht Thaer (gratefully regarded for his many
 
 1804.] ERNST RIETSCHEL. 277 
 
 improvements in husbandry), which is considered a most 
 felicitous adaptation of modern costume and truthful 
 portraiture to the noblest sculptural treatment. It was 
 erected in Leipsic in 1850. The Goethe and Schiller 
 mouumeut in the Theatre-Platz at Weimar is a celebrated 
 work. It represents the two standing side by side upon 
 the same pedestal, and the artist is credited with hav- 
 ing successfully portrayed the characteristics of each. 
 He also endeavored to express the friendship and union 
 between them by the introduction of a wreath which both 
 are holding ; but it may be questioned whether this touch 
 of sentiment does not detract from the dignity of the 
 group. One of his latest works is the bronze statue of 
 Weber at Dresden. As a portrait it is considered excel- 
 lent, and the listening attitude of the great composer is 
 very expressive. At Brunswick is his statue of Lessing, 
 which is highly appreciated by the German nation. His 
 portrait statues are among his most distinguished works, 
 as lie particularly excelled in the delineation of indi- 
 vidual characteristics. 
 
 The grand Quadriga for the portal of the palace at 
 Brunswick was one of his later works. In the chariot, 
 drawn by four magnificent horses, is a figure personifying 
 the city of Brunswick, — one of the artist's finest ideal 
 creation.s. It was destroyed by fire in 1865, but has 
 been reproduced in equal perfection from the original 
 model. 
 
 For the buildings of the University at Leipsic he exe- 
 cuted allegorical groups representing Theology, Philoso- 
 l>hy, I^w, and Medicine, and twelve reliefs illustrating 
 the history of civilization. 
 
 Among the most poetic of his ideal creations are the 
 four bas-reliefs of Morning, Noon, Evening, and Night.
 
 278 SCULPTORS OF THE RENAISSANCE. [i804. 
 
 Morning is represented by a joyous-looking boy^ liolding 
 aloft a torch with one hand, while with the other he 
 throws off the drapery which flutters in the breeze. With 
 his foot he spurns the bird of night, and the lark rises, 
 singing, at his side. Noon, a figure in the full perfection 
 of life, soars onward, holding in one hand a garland of 
 sunflowers, and grasping at a butterfly with the other. 
 Evening floats wearily in the air, with folded wings, a 
 pensive and dreamy expression upon the face, and the 
 drapery waving softly. Mght is a solemn figure, draped 
 in a garment which is half drawn over the head, and 
 holding poppies in the hand, a bat hovering near. These 
 reliefs have been executed in marble, and are in the pos- 
 session of Herr von Wohrman, of Dresden. 
 
 The design for the Luther monument at Worms must 
 be considered his greatest achievement, and perhaps the 
 greatest of modern art. The model for the statue of 
 Luther was his last work. The execution of this monu- 
 ment was a real delight to the artist, although he labored 
 under numerous and painful difficulties. On receiving 
 the commission, he wrote : " No artist can say of himself 
 that he will succeed in giving satisfaction to all ; but con- 
 sciousness of the importance of a work, and enthusiastic 
 devotion to it, go far to insure success. I pray God to 
 enlighten my mind, to guide my hand, and to strengthen 
 my health, that I may execute this work to His honor, to 
 be the joy and edification of Protestants, and — may I not 
 add ? — to be esteemed by the Catholics also. So help 
 me God." 
 
 His broad conception of the work is shown by a pas- 
 sage in his note-book at this period : " The monument is 
 not only to be a monument of the person of Luther, but 
 of the Lutheran Eeformation, of which he is the crown
 
 18W.] ERNST RIETSCHEL. 279 
 
 and centre. It is not, therefore, a part of his life, not 
 merely an episode in it, which must find expression. 
 The monument is to be to Luther and the Eeformation 
 which he efifected, and is to be at Worms because it was 
 there that he laid the foundation of it." 
 
 The execution of this memorial occupied nine years. 
 The portions left incomplete at the death of liietschel 
 were finished by his pupils, Kietz and Donndorf, of Dres- 
 den, and it was erected in 18G8. It consists of a massive 
 platform of granite forty feet square, approached by two 
 granite steps. At the four corners, upon pedestals of pol- 
 ished syenite eight feet high, are bronze statues, eight 
 and a half feet in height, of Philip Melanchthon, Johann 
 Eeuchlin, Frederick the "Wise, Elector of Saxony, and 
 Philip, Landgrave of Hesse, promoters and protectors of 
 the Reformation. At the right in the foreground is Philip 
 of Hesse, in the costume of the princes of his time, — a 
 manly figure, with uplifted face, leaning on his sword. 
 At the left is Frederick, in the costume of the Electors, — 
 a stately, heroic figure, with the imperial sword in his 
 hand with which he defended the new faith, and the re- 
 jected crown at his feet. At the further corner, on the 
 right, is ^lelanchthon, in a doctor's gown, holding in his 
 left hand a Bible, and gesticulatint,^ with the right. At 
 the left in the background is Pieuchlin, a figure also in a 
 scholar's robe, elegant in bearing, and with a refined, in- 
 telligent face, a roll in his hands, which he is unfolding. 
 
 The front side of the square is open ; the other three 
 are enclosed by a battlemented wall, emblematical of the 
 " sure defence." In the centre of these are symbolical 
 female figures representing the cities intimately connected 
 with the Reformation : Magdeburg, a bowed figure with 
 a Vjroken sword, indicating devastation and sorrow ; Spiers,
 
 280 SCULPTORS OF THE RENAISSANCE. [isoi. 
 
 the city of the Protest, a spirited figure, with arm raised 
 expressively ; and Augsburg, city of the Confession, a fig- 
 ure of calm serenity, holding the palm of peace and vic- 
 tory in her hand. Between these figures, inside the 
 battlements, are the arms of the twenty-four cities that 
 embraced and suffered for the Reformed faith. 
 
 From the centre of this square rises the principal part 
 of the monument. Upon the projecting corners of the 
 elaborate pedestal are figures of the precursors of the Eef- 
 ormation ; — Huss, a contemplative figure with a refined 
 and fervent expression, holds in his hands a crucifix upon 
 which he is gazing ; Wycliffe, in scholar's attire, absorbed 
 in a book which he holds upon his knees ; next is Peter 
 Waldus, founder of the Waldensians, represented in the 
 garb of a pilgrim, the ragged edge of his garment and the 
 rough sandals indicating the beggar monk, but his face 
 beaming as he points to the Sermon on the Mount on the 
 page of the open Bible which he holds. Perhaps the most 
 expressive of all is the figure of Savonarola. His head is 
 covered with the cowl, from which his thin, passionate 
 face looks out ; one hand holds his robe against his breast, 
 the other is raised with an impassioned gesture, the whole 
 attitude as if he were about to spring to his feet and utter 
 some prophetic appeal. From the centre of all rises the 
 heart of the composition, — the colossal statue of Luther. 
 It is ten and one half feet in height. The Eeformer 
 stands in a commanding attitude, the right foot slightly 
 advanced. His head is raised, and his face wears an ex- 
 pression of steadfast faith. With his left arm he is hold- 
 ing the Bible against which his clenched right hand is 
 firmly laid. So expressive are the look and the attitude 
 that the very air seems to echo the words which he uttered 
 not far from this spot : " Here I stand ; I cannot do oth-
 
 1801] ERNST RIETSCIIEL. 281 
 
 erwise, God help me." Upon tlie front of the pedestal are 
 carved these memorable words ; upon the other sides are 
 also remarkable utterances of Luther, and below are bas- 
 reliefs representing the principal scenes in his life. In 
 one of these reliefs liis pupils have introduced the portrait 
 of Eietschel. 
 
 The health of the sculptor failed before the task was 
 finished, though it was completed in all essential parts. 
 A few days before his death, — in February, 1861, — be- 
 iuir unable to leave his room, he had the model of Luther 
 moved into his garden, where he could look at it from the 
 window. He made a suggestion or two, but, on the whole, 
 appeared to be satisfied with it. With the completion of 
 this grand figure the master's work was finished : when 
 the day came which had been fixed for its public exhibi- 
 tion, he lay at rest in his studio, with a wreath of laurel 
 around his head. 
 
 Pdetscliel was of a simple and noble nature, with a sin- 
 cere reverence for everything that is good. He was pos- 
 sessed of a deep religious feeling, and his group of the 
 ^ladonna with the dead Christ is among the masterpieces 
 of modern religious art. He was a Protestant in faith, 
 but this group was modelled from a love of the subject. 
 He was afterwards commissioned to execute it in marble 
 by the king of Prussia, and it is in the Friedenskirche at 
 I'otsdam. 
 
 In the Grosse-Garten at Dresden is the Ptietschel Mu- 
 seum, containing a large collection of casts and models of 
 the sculptor's works.
 
 282 SCULPTORS OF THE RENAISSANCE. [i805. 
 
 FRIEDRICH DRAKE. 
 
 FEIEDEICH DKAKE, a distinguished German sculp- 
 tor, was born at Pyrmont, in 1805. He was a 
 pupil of Kauch at Berlin, and became one of the most 
 able and productive of the pupils and followers of that 
 master. One of his early works is a Madonna and Child, 
 which was purchased by the Empress of Eussia. Like 
 other modern German sculptors he excelled in portrait- 
 ure, producing statues and busts of eminent personages, 
 to the great increase of his reputation. In allegory he 
 was also very successful. About 1844 he executed an 
 allegorical group of figures, representing the eight prov- 
 inces of Prussia, an admired work, which adorns the 
 White Hall of the Berlin imperial palace. 
 
 In the Thiergarten at Berlin is a statue of Frederick 
 William III. by Drake, the pedestal of which is adorned 
 with admirable high-reliefs, representing man in a state of 
 nature, thus harmonizing the work with the objects among 
 which it is placed. For the Castle Park at Putbus he 
 executed a statue of Prince von Putbus, a work of similar 
 character, representing the culture of art and science by 
 ideal scenes in relief upon the pedestal. He delighted in 
 thus relieving the formality of natural representation by 
 combining with it in an harmonious manner touches of 
 poetry and allegory. Dr. Llibke says : " Drake brings 
 into these creations of an ideal kind a touch of genuine 
 German feeling, like that which speaks to us in Weber's 
 melodies." 
 
 For one of the portals of the railway bridge at Cologne 
 Drake executed an equestrian statue of King William of 
 Prussia ; it is a fine work, though unfavorably situated.
 
 1805] FRIEDRICH DRAKE. 283 
 
 One of his noblest works is tlie statue of his master, 
 Christian Daniel Eaiich, which stands in the vestibule of 
 the Museum at Berlin. An admirably characteristic statue 
 of Schinkel was executed by Drake for the square in front 
 of the Bau-Academie, which was established in Berlin 
 under the direction of this master of architecture. It is 
 a noble figure, witli the animated, interested look of life ; 
 upon the pedestal four Caryatidne represent different arts. 
 One of his late works is the monument of the Duchess 
 Pauline of Xassau, in the cemetery at Weisbaden. At 
 Aix-la-Chapelle, in front of the Rhenish station, is a War- 
 riors' Monument, erected in 1872 to tlie memory of the 
 natives of the town and vicinity who fell in the campaigns 
 of 1866 and 1870-71. The figure of a dying warrior to 
 whom an angel is presenting the palm of victory was de- 
 signed by Drake. The statue of Victory, which crowns the 
 Monument of Victory lately erected in the Konigs-Platz 
 in Berlin to commemorate the achievements of the late 
 war, is by this sculptor, — a figure of airy lightness. 
 
 HIRAM POWERS. 
 
 HIILVM POWERS, one of the most distinguished 
 xVmerican sculptors, was born in Woodstock, Ver- 
 mont, in 1805. He belonged to a family whose wealth 
 consisted in honesty, affection for each other, and habits 
 of industry and frugality. His early advantages of edu- 
 cation were limited, but the deficiency was in part atoned 
 for by tlie expansion of soul gained from an intimate 
 communion with nature, and by a sturdy frame develojied 
 by the wholesome discipline of toil and endurance. He
 
 284 SCULPTORS OF THE RENAISSANCE. [i805. 
 
 always appreciated the blessings which surrounded him 
 in his early life, in spite of the privations which he en- 
 dured; and his love for his home and country never 
 diminished, though he became a voluntary exile. 
 
 The family removed, while Powers was still a youth, 
 to Western New York, and thence to Ohio. There he 
 engaged in various employments by which he could 
 obtain an honest livelihood, but which were more or 
 less uncongenial. Eventually, however, he obtained em- 
 ployment with the proprietor of a museum, where his 
 mechanical ingenuity and imitative skill found appropri- 
 ate exercise in the production of waxen effigies. He 
 afterwards learned modelling in plaster from a German, 
 and commenced in earnest his career as a sculptor by the 
 execution of portrait busts. 
 
 In 1837 Powers went to Italy, and took up his perma- 
 nent abode in Florence. Among the productions of this 
 period are various excellent portrait busts. In reference 
 to his work in this department Edward Everett said : " If, 
 urged by native inclination, he had succeeded in imitating 
 nature servilely, though with exactness, it would not have 
 been matter of great astonishment. But at the very first 
 glance, Mr. Powers rose to the just conception of a kind 
 of representation which should contain, in union with all 
 the characteristic parts, the natural and expressive spirit 
 of each individual. He has dedicated himself to the 
 preservation of the whole character, while at the same 
 time he imitates the porosities and habitual wrinkles of the 
 skin ; so that he might be called the Denner of Sculpture. 
 He spares no pains to make every head preserve, in even 
 the smallest part, that harmonious type, — composed at 
 once of unity and variety, — which belongs to itself; — a 
 special quality of nature, which escapes the eye of many."
 
 1805.] HIRAM POWERS. 285 
 
 The Greek Slave was one of the first ideal productions 
 of the artist, and it brought him immediate fame. It is a 
 beautiful embodiment of young and tender womanhood 
 in a position of deepest humiliation, yet sustained by con- 
 scious purity and faitli. In his own description of it the 
 sculptor says : " The Slave has been taken from one of 
 tlie Greek islands by the Turks, in the time of the Greek 
 revolution, the history of which is familiar to all. Her 
 father and mother, and perhaps all her kindred, have been 
 destroyed by her foes, and she alone preserved as a treas- 
 ure too valuable to be thrown away. She is now among 
 barbarian strangers, under the pressure of a full recollec- 
 tion of the calamitous events which have brought her to 
 her present state ; she stands exposed to the gaze of 
 the people she abhors, and awaits her fate with intense 
 an.xiety, tempered indeed by the support of her reliance 
 upon the goodness of God. Gather all the afflictions to- 
 gether, and add to them the fortitude and resignation of 
 a Christian, and no room will be left for shame. Such 
 are the circumstances under which the Greek Slave is 
 supposed to stand." This work was reproduced five or 
 si.x times. One of the originals is in the Corcoran Gallery 
 at Washington, where it is seen to great advantage. If 
 the statue does not merit the extravagant praise at first 
 bestowed upon it, it still less merits the sweeping sentence 
 which later criticism has passed upon it. It is pervaded 
 by a pure and tender sentiment, and can never be con- 
 signed to the rank of empty and superficial art. His 
 statue of Eve, anotlier early work (in tlie collection of 
 the late A. T. Stewart, of New York), is a beautiful figure, 
 holding the forbidden fruit in her hand, looking hesitat- 
 ingly at it, wliile behind her, at the base of a tree-trunk, 
 the lifted head of tlie .serpent waits and watches. This
 
 286 SCULPTORS OF THE RENAISSANCE. [i805. 
 
 is Eve Tempted. His Eve Eepentant stands with one 
 hand pressed on her bosom, her face raised remorsefully 
 to heaven. 
 
 The Ginevra, from Eogers's Italy, is also a work of his 
 earlier time, and has been duplicated. The Proserpine is 
 a production of his mature time, and is greatly and justly 
 praised. Its popularity led to many reproductions. Both 
 the last-named works are to be seen in the Corcoran 
 Gallery, and repetitions of them adorn many private col- 
 lections. 
 
 A full-length statue of California is among the alle- 
 gorical works of this artist. It has reference to the land 
 of gold, and evidently aims to portray both the fascination 
 and the deceitfulness of riches. It is a beautiful figure, 
 with a repulsive expression of face, holding a divining-rod 
 in one hand while a thorn is concealed in the other. It is 
 in the Metropolitan Museum of Art in New York. 
 
 La Penserosa is another full-length figure, an ideal cre- 
 ation of much grace and majesty, now in the Lenox Li- 
 brary in New York. " The attitude is striking, original, 
 and graceful; with one step forward, and in the act of 
 taking the next, her train sweeps behind, but is partially 
 gathered up in her hand ; one finger on her lip, her eyes 
 raised, and full of thought and feeling ; a kind of bodice 
 fits closely over a chemisette of such exquisite delicacy of 
 finish that the minutest examination only brings out new 
 beauties. If she would go up as we gaze, it would hardly 
 create surprise, there is such a transcendent majesty and 
 aerial lightness." * 
 
 One of Powers's latest productions is the bronze statue of 
 "Webster in the State House grounds at Boston. Nathaniel 
 Hawthorne, who first viewed this statue in company with 
 
 * H. T. Tuckerman.
 
 1805.] Ill RAM POWERS. 287 
 
 the sculptor at the foundry in Florence where it was 
 cast, wrote of it : " The likeness seemed to me perfect, 
 and, like a sensible man, Powei-s has dressed him in his 
 natural costume, such as I have seen Webster have on 
 while making a speech in the open air at a mass meet- 
 ing in Concord, — dress-coat buttoned pretty closely across 
 the breast, pantaloons and boots, — everything finished 
 even to a seam and a stitch. Xot an inch of the statue 
 but is "Webster ; even his coat-tails are imbued with the 
 man, and this true artist has succeeded in showing him 
 
 through the broadcloth as nature showed him 
 
 "Webster is represented as holding in his right hand the 
 written roll of the Constitution, with wliich he points to a 
 bundle of fasces, which he keeps from falling by the grasp 
 of his left, thus symbolizing him as the preserver of the 
 Union. There is an expression of quiet, solid, massive 
 strength in the whole figure; a deep pervading energy, 
 in which any exaggeration of gesture would lessen and 
 lower the effect. The face is very grand, very "Webster ; 
 stern and awful, because he is in the act of meeting a 
 great crisis, and yet -with the warmth of a great heart 
 glowing through it. Happy is "Webster to have been so 
 truly and adequately sculptured ; happy the sculptor in 
 such a subject, which no idealization of a demigod could 
 have supi)lied him with." 
 
 Powers's statue of Jefferson, a very superior work 
 (1863) is in the Capitol at "Washington. His bust of 
 Chief Justice Marshall is in the United States Supreme 
 Court Room ; tliat of John Quincy Adams is in the Penn- 
 sylvania Academy of Fine Arts. 
 
 Powers's ideal works are remarkable for purity of senti- 
 ment, and for the suggestion of what is most tender and 
 beautiful in humanity. He portrays no exaggerated emo-
 
 288 SCULPTORS OF THE RENAISSANCE. [1805. 
 
 tions, but his creations are pervaded by an atmosphere of 
 peculiar tranquillity. He was a nice observer of nature, 
 and all his subjects are wrought with a conscientious 
 fidelity in detail, and with surpassing delicacy of finish. 
 He was utterly opposed, in theory and in practice, to the 
 hasty and sensational work demanded of modern artists ; 
 he said, "If I prefer to linger behind, and take pains 
 with the little I do, there are some now, and there will be 
 more hereafter, to approve it." The greater part of his 
 life was spent in Italy ; his attachment to home and 
 country was strong, but, always self-reliant, and obedient 
 to what he believed to be right and best, he accepted his 
 lifelong exile, happy in his family, his work, and the occa- 
 sional visits of his countrymen. He died in Florence in 
 1873. 
 
 HORATIO GRBENOUGH. 
 
 HORATIO GEEENOUGH, a distinguished American 
 sculptor, was born in Boston in 1805. From early 
 childhood he manifested the sense of form and the desire 
 for imitating it which in later years led him to choose the 
 profession of sculpture. When a boy he delighted in carv- 
 ing and moulding toys and faces, and often amused his 
 companions with the ingenious products of pencil, knife, 
 or scissors. One of these childish productions has been 
 preserved, — a head, evident^ from an old Roman coin, 
 carved in a piece of plaster with a knife and a common nail. 
 As he grew older lie learned the use of various tools from 
 mechanics and artists, to whom his pleasant manners and 
 manifest genius recommended him. He was educated at
 
 1805] HORATIO GREENOUGH. 289 
 
 Harvard University, where he excelled iu classical studies, 
 aud was remarkable for his commaud of language and for 
 liis retentive memory. His college course was, however, 
 subordinated to the practice of his art, which he still 
 found opportunities for indulging, though he acquitted 
 himself with credit in all branches except mathematics, 
 for which he had an instinctive dislike. While at Cam- 
 bridge he formed the acquaintance of Washington All- 
 ston, who, no doubt, did much towards developing and 
 directing his talents. In later years he wrote : " ^Ulstou 
 was to me a father in what concerned my progress of 
 every kind. He taught me first how to discriminate, how 
 to think, how to feel." 
 
 In 1825, towards the close of his senior year in college, 
 Greenough Nvent abroad, and, as the pioneer of American 
 sculpture, took up his abode in Rome. There he devoted 
 himself assiduously to the study and practice of sculpture ; 
 but his health soon became impaired, and he returned to 
 his native land for a time. In 1827 he again went abroad, 
 and took up his residence permanently in Florence. 
 
 Greenough's first group in marble, and the first which 
 was executed by an American sculptor, was the Chanting 
 Cherubs, ordered by J. Fenimore Cooper. He produced 
 other works of a similar character, which won much 
 admiration and increased his permanent fame. He also 
 executed various portrait busts. 
 
 In 1832, Greenougli received a commission for a colos- 
 sal statue of Wasliington for the Rotunda of the national 
 Capitol. This work was executed in Florence, and occu- 
 pied the sculptor for about eight years. It is a grand and 
 noble work, though not a fortunate conception, perhaps, 
 for the place it was intended to occupy, — the centre of the 
 Rotunda, — and it is still less suited to its present exposed
 
 290 SCULPTORS OP THE RENAISSANCE. [1805. 
 
 position in the park. It is of beautiful Carrara marble, a 
 colossal seated figure, the right arm and lower part of the 
 body only covered with drapery. The right hand is raised, 
 the forefinger pointing upward ; the left hand advanced, 
 holding a Roman short sword, reversed. The chair is 
 massive, of antique form, and ornamented with acanthus 
 leaves, flowers, and finely wrought subjects in bas-relief; 
 against the left arm of the chair rests a small figure of 
 Columbus holding a globe in his hand, and at the right 
 is a small statue of an Indian. The pedestal, twelve feet 
 in height, is of New England granite, and bears upon 
 the front and sides the inscription : " First in war : First 
 in peace : First in the hearts of his countrymen." 
 
 The statue has been the subject of much unjust as well 
 as ignorant criticism, but it has also had appreciative ad- 
 mirers, and the number will increase as true art becomes 
 better understood among our countrymen, and a higher 
 culture reveals the spirit and significance of the work. Its 
 excellence consists, not in its accuracy as a portrait of 
 Washington, or in its portrayal of any isolated moment in 
 his career ; it is rather an embodiment of the enduring 
 qualities of character which distinguished him. The sculp- 
 tor himself said of it : " It is the birth of my thought. I 
 have sacrificed to it the flower of my days and the fresh- 
 ness of my strength ; its every lineament has been moist- 
 ened by the sweat of my toil, and the tears of my exile. 
 I would not barter away its association with my name for 
 the proudest fortune that avarice ever dreamed. In giv- 
 ing it up to the nation that has done me the honor to 
 order it at my hand, I respectfully claim for it that pro- 
 tection wliich it is the boast of civilization to afford to Art, 
 and which a generous enemy has more than once been 
 seen to extend even to the monuments of its own defeat."
 
 1806.] HORATIO GREENOUGH. 291 
 
 The statue was placed in the centre of the Eotunda, a 
 pier of masonry having been erected beneath the pave- 
 ment to sustain the vast weight. It, however, appeared 
 so out of proportion, that it was in the following year re- 
 moved to the park east of the Capitol. On learning that 
 the statue was to be removed from its place under the 
 dome of the Capitol, the sculptor WTote : " Had I been 
 ordered to make a statue for any square or simular situa- 
 tion at the metropolis, I should have represented Wash- 
 ington on horseback, and in his actual dress. I would 
 have made my work purely an historical one. I have 
 treated the subject poetically, and confess I should feel 
 pain at seeing it placed in direct and flagrant contrast with 
 every-day life. Moreover, I modelled the figure without 
 reference to an exposure to rain and frost, so that there 
 are many parts of the statue where the "water would col- 
 lect and soon disintegrate and rot the stone, if it did not, 
 by freezing, split off large fragments of the drapery." 
 
 Another of Greenough's principal works is his group of 
 the Rescue, which stands at the right of the eastern en- 
 trance to the Capitol. The principal figure represents an 
 American settler rescuing a woman and child from a mur- 
 derous savage, typical of the struggle of the Anglo-Saxon 
 with the aboriginal races. This was his last ideal work, 
 also e.xecuted in Florence, designed in 1837, finished in 
 1851. In that year the artist returned to America, desir- 
 ing to take up his final abode in the beloved land of his 
 birth ; but, keenly sensitive both in body and mind, he 
 missed the genial climate he had left, and perhaps still 
 more the serene and undisturbed artist life he had led in 
 Italy. He took part for a time in the stirring and fitful 
 life around him, while, in addition to his cares and labors, 
 he was subjected to many vexations and discomforts.
 
 292 SCULPTORS OF THE RENAISSANCE. [isos. 
 
 However, during the last year of his life he enjoyed inter- 
 vals of almost unalloyed tranquillity, with his family and 
 friends around him. He was in the prime of his man- 
 hood, but he seems to have had a premonition that the 
 end was not far off, for he wrote : "I begin to love to sit 
 alone, — to look upon the skies, the water, and the soft 
 green, — the face of the mighty mother ! I feel that she 
 sweetly smiles on me, — more sweetly than formerly, — 
 because she means to call me home to her own bosom." 
 He died from disease of the brain, in December, 1852. 
 
 JOEL T. HART. 
 
 JOEL T. HAET, an American sculptor of considera- 
 ble celebrity, was born in Clark County in Kentucky, 
 in 1810. His early opportunities for education were very 
 limited, and while still a boy he was compelled to earn a 
 subsistence by rough mason-work. In 1830, he found 
 employment with a stone-cutter in Lexington, and soon 
 after commenced modelling in clay, producing some re- 
 markable portraits. In sculpture he appears to have found 
 his true vocation, and during the following years he re- 
 ceived a fair share of patronage and fame. 
 
 About 1846, Hart received a commission for a statue of 
 Henry Clay for the city of Louisville in his native State. 
 He immediately commenced his studies for the work from 
 life, and was occupied for three years upon the model. 
 He went to Florence to execute it in marble, but owing 
 to unfortunate delays it was not completed for many years. 
 It was at length finished, and was inaugurated in Louis- 
 ville in 1867. A duplicate of it was executed for the city
 
 1810] JOEL T. HART. 293 
 
 of New Orleans, which stands upon a lofty pedestal in a 
 central part of the city, and is a characteristic and effect- 
 ive work. 
 
 The sculptor produced a great number of portrait busts, 
 some of which are regarded as of remarkable truth, be- 
 sides various ideal subjects, which have been much ad- 
 mired. Some of his more simple poetical subjects are 
 treated in a very attractive manner. A number of his 
 productions have been purchased by Englishmen. He 
 possessed considerable mechanical skill and invention, 
 which have been of practical value in facilitating the me- 
 chanical labors of sculpture. As a man. Hart was kindly, 
 generous, and patriotic. The last years of his life were 
 passed in Florence, where he died in 1877. 
 
 THOMAS G. CRAWFORD. 
 
 THOMAS G. CRAWFORD, eminent among Ameri- 
 can sculptors, was born in New York in 1813. His 
 birtli and early education were not such as, in themselves, 
 would entitle him to other than an average position among 
 his countrymen ; but he seems to have had by nature an 
 artistic love for the beautiful, and a power of will in the 
 concentration of his energies towards the realization of his 
 ideal which would insure a measure of success, even in the 
 absence of actual genius. It is said that his early taste 
 for art was encouraged by his father, and that he was 
 placed with a wood-carver for instruction, where his talent 
 for sculpture rapidly developed. He afterwards attended 
 the National Academy of Design, and was also instructed 
 in the studio of Frazee and I^aunitz, monumental sculptors 
 of New York.
 
 294 SCULPTORS OF THE RENAISSANCE. [1813. 
 
 In 1835 Crawford went to Rome, where he was kindly- 
 encouraged and aided by Thorvaldsen, With a single 
 devotion to the art he loved, he counted no efforts too 
 great, no hardships too painful, in approaching his ideal. 
 He devoted himself to the study and practice of sculpture 
 with an unremitting application, and his earnestness and 
 industry were soon rewarded by a name among the most 
 distinguished artists of Eome, and by various commissions 
 of importance. In 1839, he modelled his Orpheus, which 
 was much praised, and he was commissioned by an Ameri- 
 can to execute it in marble. It is now the property of 
 the Boston Athenaeum. 
 
 One of Crawford's finest statues is that of Beethoven, 
 in bronze, executed for the Music Hall in Boston. It is 
 not only a fine portrait of the great composer, but seems 
 also a revelation of the majestic spirit which dwelt apart, 
 in the solitude of its own inspirations. The statue was 
 cast in Munich, and when it was finished the music-loving 
 Germans honored it with an impromptu festival, at which 
 some of Beethoven's grandest music was performed. 
 
 His colossal equestrian statue of Washington, in bronze, 
 executed for the State of Virginia, and placed on the Capi- 
 tol Hill in Richmond, is one of his most admired produc- 
 tions. The figure of Washington is dignified and natural ; 
 he is turning slightly to the left, as if about to give some 
 word of command, his left hand on the snaffle bridle of 
 his horse, — a noble animal of Arab blood, studied from 
 life. Henry James, Sen. said, in reference to the supposed 
 intention of the sculptor : " I heard it stated by gentlemen 
 that the moment chosen for the depiction of Washing- 
 ton was at the battle of Monmouth, or at half a dozen 
 other battles. But it seemed to me that such an idea was 
 all a mistake. I cannot, of course, enter into the mind of
 
 1813.] THOMAS G. CRAWFORD. 295 
 
 the great artist, now, alas ! gone, and say what was in his 
 thoughts ; hut 1 do not believe Crawford intended to rep- 
 resent any particular moment or any particular event 
 in Washington's lite. It was only AVashington, — AVash- 
 ington eubalmed in memories, sucli as leave behind all 
 spices of the Egyptian tomb, — the love of his countrymen, 
 the gratitude of ages, the admiration of a world, — Wash- 
 ington leading on, not so much to victory and fame as to 
 duty and liberty." This work was also cast at Munich, and 
 was, like the Beethoven^ greeted with a burst of German 
 enthusiasm. On its completion the sculptor went to Mu- 
 nich to view his work in bronze. Arriving in the evening 
 at the place where it was displayed, Crawford was for a 
 moment surprised at the dusky precincts ; but suddenly 
 the light of torches flashed upon the statue, while a song 
 of triumph burst from a hundred voices, — a tribute to 
 American freedom and American genius. The Washing- 
 ton was among the last achievements of the sculptor, 
 and it reached the shores of his native land simultane- 
 ously with the sad news of his death. 
 
 For the pediment of one of the wings of the Capitol at 
 Washington he executed a group in high relief, symboliz- 
 ing the progress of civilization in the United States. The 
 central figure of the group represents America ; at tlie 
 right of this figure, War and Commerce, Youth and Educa- 
 tion, ^Mechanics and Agriculture ; at the left, the Pioneer, 
 the Hunter, and the Aboriginal, A repetition of the fig- 
 ure of the Indian chief in this group is in the entrance 
 hall of the New York Historical Society. 
 
 His colossal statue of Freedom, whicli surmounts the 
 dome of the Capitol, is counted among the least successful 
 of his public works. The head-dres.s, which imparts to the 
 figure somewhat the air of a savage, was not the first idea
 
 296 SCULPTORS OF THE RENAISSANCE. [I813. 
 
 of the sculptor. He intended to crown it with the cap of 
 Liberty, but was afterwards induced to substitute for this 
 " a helmet, the crest of which is composed of an eagle's 
 head and a bold arrangement of feathers, suggested by the 
 costume of our Indian tribes." 
 
 Crawford executed many statues and busts of eminent 
 American statesmen ; that of Patrick Henry has been 
 much praised. His statue of James Otis is in the chapel 
 at Mount Auburn. It is excellent as a likeness, and 
 expresses also in a remarkable degree the grace and no- 
 bility of mind which characterized the distinguished man. 
 His Hebe and Ganymede is in the Boston Museum of 
 Fine Arts, and in the same gallery his bust of Charles 
 Sumner. 
 
 Among Crawford's productions are numerous bas-reliefs 
 of Scriptural and classical subjects. A large collection of 
 casts and models of his works came into the possession 
 of the Commissioners of Central Park in New York some 
 years since, and were arranged in the former chapel of 
 the convent at Mount St. Vincent. A portion of them 
 were destroyed by fire in 1881, and those remaining are 
 now in the Arsenal at Central Park. They bear witness 
 to his fertility of invention, as well as his industry and 
 skill. Had he worked more slowly, he might have 
 accomplished better things ; and had his life been pro- 
 longed, he would doubtless have achieved something more 
 satisfying to himself and to the world. He was much 
 beloved and honored by his countrymen, and his death 
 in 1857, was deeply lamented. 
 
 Note. — Crawford's statue of The Peri at the Gates of Paradise 
 is one of the treasures among the original marbles in. the Corcoran 
 Gallery of Art in Washington. This beautiful figure was suggested 
 by the poem in Lalla Rookh, by Thomas Moore.
 
 1806.] HENRY DEXTER. 297 
 
 HENRY DEXTER. 
 
 HENRY DEXTER, an American sculptor, was born 
 in Nelson, New York, in 1806. He is remark- 
 able as being entirely self-taught, never leaving his own 
 country for study, and yet producing works which prove 
 him a master of his art. His father died wlien Henry 
 was but a child, and the family removed to Connecticut, 
 where the boy worked on a farm in summer and attended 
 school in w^iuter. He was afterwards apprenticed to a 
 blacksmith, and became very skilful as a worker in 
 metals. But he longed to be an artist, and painted a 
 number of pictures with some success. In 1840 he 
 turned his attention to sculpture, and seems then to 
 have found his field of labor. The first marble bust he 
 made was that of Hon. Samuel Eliot, Mayor of Boston. 
 He had never handled a block of marble, or seen a sculp- 
 tor at work ; nevertheless he produced so satisfactory a 
 work that Mr. Eliot, to whom he left the matter of com- 
 pensation, paid him two hundred dollars, and afterwards 
 added fifty dollars more, to the amazement of the sculp- 
 tor. In 18G0 he undertook to execute busts of the 
 President and all the Governors in the United States at 
 that time in office, visiting nearly all tlie States to make 
 his studies. lu this undertaking he was very successful. 
 One of the noblest of these busts is that of Chief Justice, 
 then Governor Chase. Those of Governors Morrill and 
 Banks are noteworthy. A bust of Professor Felton is 
 one of liis finest productions ; it is in the library at 
 Harvard University. 
 
 Tn 1847 Dexter took up his residence in Cambridge, 
 Mass., where he labored assiduously at liis art. When
 
 298 SCULPTORS OF THE RENAISSANCE. [I807. 
 
 at work upon some bust or statue he would say, " It is 
 my work, and my whole soul is in it." 
 
 He executed portrait busts of Dickens, Longfellow, 
 Agassiz, Henry Wilson, and Anson Burlingame. His 
 statue of General Joseph Warren is at Bunker Hill ; his 
 Backwoodsman is now at Wellesley College. The Biu- 
 ney monument in Mount Auburn, the sleeping figure of 
 the little child who was buried there, is well known, and 
 deserves mention not only on account of the sweet and 
 tender sentiment it has awakened in so many spectators, 
 but for the reason that it was the first marble statue 
 placed in that home of the dead, and believed to be the 
 first produced in this country by an American who had 
 never left America. 
 
 Dexter died in Cambridge in 1876. 
 
 HENRY WEEKS. 
 
 HENRY WEEKS, an English sculptor, was born in 
 1807. He was for a time Professor of Sculpture 
 at the Eoyal Academy. He has executed a number of 
 statues and busts, among which may be noticed his bust 
 of Eobert Southey and that of Zachary Macaulay, advo- 
 cate for the abolition of slavery, in Westminster Abbey. 
 
 This artist shared in the sculptures of the Albert 
 Memorial in London. Of the four minor groups, rep- 
 resenting Agriculture, Manufactures, Commerce, and 
 Engineering, that of Manufactures is by his hand. 
 
 It is said that the first bust of Victoria as Queen was 
 made by him. 
 
 He died in 1877.
 
 1814] HENRY KIRKE BROWN. 299 
 
 HENRY KIRKE BROWN. 
 
 HEXRY KIEKE BROWN, an eminent American 
 sculptor, was born in Ley den, Mass., in 1814 A 
 man of strong character and nudoubted talent. Brown 
 is wortliily identified with the whole growth of American 
 sculpture. 
 
 With a natural love for art, he commenced painting 
 at a very early age, but soon found that he preferred 
 sculpture. Without resources, he worked as a railroad 
 engineer summers, studying and practising his art win- 
 ters for a time. He settled in Albany, where he received 
 many commissions for portrait busts, and also produced 
 some ideal works. In 1842 he went to Italy, where he 
 remained four years. After his return he did some work 
 in bronze casting, the first attempted in this country, 
 bringing skilled assistants from Europe. He went among 
 the Indians, making some interesting models, which were 
 reproduced in bronze. 
 
 In 1857 Brown was commissioned by the State of 
 South Carolina to execute the decorations of the State 
 House in Columbia. A symbolical group for the main 
 pediment was to consist of a colossal figure of South 
 Carolina, with Justice and Liberty on either side, and 
 the industries represented by slaves at work in rice and 
 cotton fields. The principal figure was nearly finished 
 before the beginning of the Civil War. It was never 
 completed, and was afterwards destroyed. The sculptor 
 made many friends during his residence in the Soutli, 
 and was urged to cast his hjt with the Southern cause, 
 but he wa.s loyal tu the Union. 
 
 Brown was fond of horses, and his equestrian statues
 
 300 SCULPTORS OF THE RENAISSANCE. [1815. 
 
 are among his best productions. His fine statue of 
 Washington in Union Square, New York, represents the 
 General on horseback in the act of recalling his troops 
 to repose ; the head is bare, his hat resting on his bridle 
 arm, his face slightly lifted, and his right hand extended 
 in quiet command. His equestrian statue of General 
 Win field Scott, in Washington, is considered his best 
 work. The General is in full uniform, mounted in an 
 easy and dignified attitude upon a war-horse at rest. In 
 his left hand he holds the reins, and in his right a pair 
 of field glasses. Both rider and horse are full of life, but 
 the air of calm dignity which invests the work renders it 
 very attractive. It was cast from cannon captured in the 
 Mexican war. The noble statue of General Nathanael 
 Greene, in the National Statuary Hall at Washington, is 
 his work. He made many portrait busts of distinguished 
 men, and produced some works in sacred art. 
 He died in 1886. 
 
 CLARK MILLS. 
 
 CLAEK MILLS was born in Onondaga County, New 
 York, in 1815. He was left an orphan when very 
 young, and experienced many hardships during his early 
 years. He seems to have had a taste for art, and learned 
 the stucco trade, which led him to attempts in modelling 
 the human face, and making portrait busts. He executed 
 a number of commissions in this department, and won 
 considerable reputation. 
 
 In 1848 he was asked to furnish a design for an 
 equestrian statue of General Jackson. This was ac-
 
 1817] ALFRED STE\T:NS. 301 
 
 cepted, and the work was completed in 1853, and stands 
 in Lafayette Square iu "Washington. It was made from 
 cannon captured during the war of 1812. The sculp^ 
 tor produced a replica of this statue for the city of 
 New Orleans. He also made an equestrian statue of 
 General Washington, which stands in Washington Circle 
 in Washington. It represents the hero at the crisis of 
 the battle of Princeton. 
 
 The latter part of the sculptor's life was largely occu- 
 pied iu the production of portrait busts, in which he was 
 very successful. 
 
 Mills was a man of an inventive mind and much ori- 
 ginality. He died iu Washington iu 1883. 
 
 ALFRED STEVENS. 
 
 ALFliED STEVENS, an English sculptor, was born 
 _ iu Blandford, Dorset, in 1817 or 1818. In 1833 
 he went to Italy, where he remained for nine years. 
 He was for some time an assistant of Thorwald.sen. In 
 England he was teacher of architectural drawing in the 
 School of Design at Somerset House. He was a man of 
 much talent, and was thoroughly fitted by study for the 
 practice of sculpture in all its branches. His chief work 
 is the monument to the Duke of Wellington in St. Paul's 
 cathedral. It is a very elaborate and imposing work, 
 and occupied the sculptor for many years. It is greatly 
 dwarfed in effect by its position in the small chapel 
 where it is placed. 
 
 Stevens died in Ix)n(loii in 1875.
 
 302 SCULPTORS OF THE RENAISSANCE. [18I8. 
 
 JOHN HENRY FOLEY. 
 
 JOHN HENEY FOLEY was born in Dublin, in 
 1818. He was a man of great genius, and perhaps 
 the foremost of modern British sculptors in his partic- 
 ular field. In his very early years his attention to the 
 subject of art was stimulated by the influence of his 
 step-grandfather, who was a sculptor in Dublin. He 
 commenced the study of drawing and modelling in his 
 native city, and in 1834 he went to London and became 
 a student at the Eoyal Academy. 
 
 Among Foley's earlier works are a large number of 
 ideal subjects, but in his monumental bas-reliefs, in 
 his statues, his groups, and especially in his equestrian 
 statues, he has shown his greatest power. 
 
 For the city of Dublin he executed a large number 
 of portrait statues and monuments. For the Albert 
 Memorial, in London, he was the sculptor of one of the 
 corner groups, Asia, and of the statue of the Prince 
 Consort, which crowns the monument. The noble repose 
 of this figure well represents the character of the Prince. 
 His statue of Lord Hardinge, now in Calcutta, is a fine 
 and very celebrated work. His equestrian statue of Sir 
 James Outram, also made for Calcutta, is a masterly 
 work, perhaps the masterpiece of his productions. It 
 was set up temporarily in London, and its impressive 
 grandeur was greatly appreciated. It was said of it, 
 " The action of man and horse is so simultaneous as to 
 suggest the sudden transformation into bronze of a group 
 in life." 
 
 Foley's career was upright and honorable. He was 
 happily married, was devoted to his home and his work,
 
 1819] WILLIAM WETMORE STORY. 303 
 
 and was ever ready to assist those less fortunate than 
 himself. 
 
 He died at Hampstead in 1874, and was buried in 
 St. Paul's cathedral. 
 
 WILLIAM WETMORE STORY. 
 
 WlLLIA^r WETMOEE STORY, a noted American 
 sculptor, was born in Salem, Mass., in 1819. 
 He was the son of Joseph Story, an eminent jurist of his 
 time, and grandson of Dr. Elisha Story, a surgeon of the 
 Revolutionary War, and one of the " Boston Tea-party." 
 
 Story graduated at Harvard in 1838, and studied in 
 the law department, in which his father was at that time 
 Professor. He was the poet of his class, delivering a 
 poem upon " Xature and Art." He had a strong love for 
 art, and in 1848 went to Italy for the study and practice 
 of sculpture. Xearly the whole of his after life was 
 spent in Rome, " the dear old city," whose damp, narrow 
 streets, even, he confessed had a charm for him. 
 
 He produced a large number of works in sculpture, 
 and was also a prolific writer. Among his earlier works 
 is the statue of his father in the chapel of Mount 
 Auburn, a fine representation of the subject. It is one 
 of the most attractive of modern portrait statues, and is 
 a noble memorial of both father and son. He modelled 
 a statue of George Peabody, whicli was cast in bronze 
 and erected in London. A replica of this work is in 
 Paltiniore. Among his portrait busts are those of James 
 Russell I^well, Josiah Quincy, and Theodore Parker. 
 Of liis ideal and symbolical works may be mentioned 
 Saul, L>eliluh, Judith, Jerusalem in her Desolation, and
 
 304 SCULPTORS OF THE RENAISSANCE. [1825. 
 
 Thetis and Achilles. One of his later works is the 
 Serairamis, now in the Metropolitan Museum of Art in 
 New York. This Assyrian queen, a stately jfigure, is 
 represented seated in an easy and graceful attitude. The 
 regal head and face are indicative of great mental ac- 
 tivity, while the body and limbs express the utmost 
 repose. The details are very elaborate, and are carefully 
 finished in the manner of Assyrian art. His Cleopatra 
 is in the same collection. 
 
 Of great refinement and extensive culture, and one of 
 the foremost of American sculptors. Story was one whose 
 memory his countrymen are proud to honor. He died in 
 the home of his daughter, at Vallombrosa, in October 
 1895. 
 
 WILLIAM HENRY RINEHART. 
 
 WILLIAM HENRY RINEHART, an American 
 sculptor, was born in Maryland in 1825. In 
 his youth he attended school and worked on his father's 
 farm. "When about eighteen years of age he began work 
 with a stone-cutter, and not long after secured a position 
 in a marble-yard in Baltimore, devoting himself to 
 drawing and other studies in his leisure hours. He 
 advanced rapidly, and, resolving to devote himself to 
 sculpture, he went to Italy in 1855 for further study, 
 remaining for two years. On his return he opened a 
 studio in Baltimore, where he produced various works of 
 a poetic character. In 1858 he took up his residence 
 permanently in Rome. He executed many portrait busts, 
 and in 1872 his statue of Chief Justice Taney was set up
 
 1825.] RANDOLPH ROGERS. 305 
 
 iu Anuapolis. After the death of Crawford, Einehart 
 completed the reliefs for the United States Capitol which 
 Crawford had left uufinished. 
 
 The Clytie was considered by this sculptor as his 
 masterpiece. It is in the Peabody Institute in Balti- 
 more. His Endymion, his Sleeping Children, and his 
 liebecca are in the Corcoran Gallery of Art in Wash- 
 ington, liinehart died in liome in 1874. 
 
 RANDOLPH ROGERS. 
 
 EAXDOLPH POGERS, an American sculptor, was 
 born in Waterloo, New York, in 1825. In early 
 manhood he was engaged in mercantile pursuits, but 
 having a preference for sculpture he went to Italy to 
 study. In 1850 he returned to America, and opened a 
 studio in New York, where he was occupied with various 
 important commissions. One of these was the large 
 bronze door for the Capitol at Washington. The panels 
 represent, in high relief, leading events in the life of 
 Columbus. The borders of the panels contain statuettes 
 in niches, witli decorations of ancient armor, heraldic 
 designs, etc. P)etween the panels are portrait heads of 
 historians of Columbus and his voyages. 
 
 In 18G1 liogers completed the Washington monument 
 at Ilichmond which was left uncompleted by Crawford. 
 
 Among his ideal works are liuth, and Nydia the Blind 
 Girl of Pompeii. He produced several portrait statues 
 and busts of excellence. His Genius of Connecticut, a 
 colo.ssal figure, was executed in 1877, fm- the Capitol at 
 Hartford. He designed soldiers' memorials for the cities
 
 306 SCULPTORS OF THE RENAISSANCE. [i844. 
 
 of Cincinnati, Detroit, Providence, and Worcester. His 
 Angel of the Eesurrection, upon the monument of 
 Colonel Colt at Hartford, is an admired work. He died 
 in 1892. 
 
 MARTIN MILMOBE. 
 
 MAETIN MILMOEE was born in Sligo, Ireland, 
 in 1844. He came to this country when quite 
 young, and was educated in the schools of Boston. In 
 early life he studied wood-carving with his brother 
 Joseph, and later he entered the studio of Thomas Ball. 
 Some years later he went to Eome and studied for some 
 time. 
 
 Many portrait busts were produced by this artist, 
 among which may be mentioned that of George Ticknor, 
 now in the Public Library of Boston, those of Wendell 
 Phillips, Ealph Waldo Emerson, Theodore Parker, and 
 others. His bust of Charles Sumner was presented to 
 George William Curtis by the State of Massachusetts, 
 upon the occasion of his eulogy upon Sumner, and was 
 placed by Mr. Curtis in the Metropolitan Museum in 
 New York. 
 
 Milmore executed several soldiers' monuments. That 
 on Boston Common is a very elaborate work. For 
 Forest Hills he executed the memorial of the city of 
 Eoxbury to her soldiers who died in the War of the 
 Eebellion. It represents a private soldier resting upon 
 his gun, as though contemplating the graves of his fallen 
 comrades. The soldiers' and sailors' monument in Fitch- 
 burs; and the soldiers' monument in Charlestown are also 
 by Milmore.
 
 1844.] MARTIN MILMORE. 307 
 
 This sculptor executed some works iu conjunction 
 with his brother, Joseph Milmore. Of these should be 
 noticed the statuary upon Horticultural Hall in Boston, 
 and the memorial Sphinx in Mount Auburn. The latter 
 is a very impressive work. His last work was a bust of 
 Daniel Webster, to be placed in the State House at 
 Concord. He died in 1883. 
 
 STATE NORMAL SCHOOL,
 
 I
 
 CATALOGUE OF ANTIQUE SCULPTURES. 
 
 Agasias. Fighting Gladiator. 
 
 Agesander. Laocoun. 
 
 Alcamenes, Copy after. (V) Venus of Melos. 
 
 Asclepius. 
 Apollonius. Tor<o of the Belvedere. 
 Apollonius and Tauriscus. Toro Farnese. 
 Calamis, Copy after. Apollo Belvedere. 
 "" " Head of Apollo. 
 " " Statuette of Apollo. 
 
 Coll. of 
 Cephisodotus, Copy after. Irene and Plutus. 
 Chares. Colossus of the Sun. (Destroyed.) 
 Cleomenes. Venus de' Medici. 
 Cresilas, Copy after. Wounded Amazon. 
 Bu-st of Pericles. 
 
 Dying Gaul (School of Pergamus). 
 Glycon. Farnese Hercules. 
 Lysippus, Copy after. Apoxyomenos. 
 " " Ludovisi Mars. 
 jEsop. 
 Myron, Copy after. Discobolus. 
 
 Naucydes, Copy after. Discobolus. 
 Phidias. .Scul|>tures of the Parthenon. 
 Polycletus, Copy after. Juno. 
 Praxiteles, " " Venus. 
 
 Cupid. 
 
 Satyr. 
 " " Apollo Sauroctonus. 
 
 (?) ApoUino. 
 
 N iobe Group. 
 
 Louvre, Paris. 
 
 Vatican, Rome. 
 
 Louvre, Paris. 
 
 British 3fus€um, London. 
 
 Vatican, Borne. 
 
 Museum, Naples. 
 
 Vatican, Rome. 
 
 Museum, Basle. 
 
 Count Stroganojf, St. Petersburg. 
 Glyptothek, Munich. 
 Rhodes. 
 Uffizi, Florence. 
 Capitol, Rome. 
 Glyptothek, Munich. 
 Capitol, Rome. 
 Museum, Naples. 
 Vatican, Rome. 
 Villa Ludovisi, " 
 VilUi Albani, " 
 Palazza Massimi, " 
 Vatican, " 
 British Museum, London. 
 Vatican, Rome. 
 British Museum, London. 
 Museum, Naples. 
 Glyptvthtk, Munich. 
 Vatican, Rome. 
 Capitol, " 
 Louvre, Paris. 
 UJJizi, Floience.
 
 310 
 
 CATALOGUE OF RENAISSANCE 
 
 CATALOGUE OF RENAISSANCE AND MODERN 
 
 SCULPTURES. 
 
 Adam, Lambert Sigisbert. Statue of the Seine. 
 
 " " Marne. 
 Sculptures. 
 Adam, Nicholas Sebastien. 
 
 Monument of Queen of Poland. 
 
 Prometheus. 
 
 Bronze Relief. 
 Algardi, Alessandro. Flight of Attila. 
 
 God of Sleep. 
 Alvarez, Don Jose. Statue of Ganymede. 
 
 St. Cloud. 
 
 Gardens, Versailles. 
 
 St. Pierre, near Nancy. 
 
 Louvre, Paris. 
 
 Royal Chapel, Versailles. 
 
 Altar ofS. Leo, St. Peter's, Rome. 
 
 Villa Boryhese, " 
 Academy of S. Fernando, Madrid. 
 Amadeo, Giovanni Antonio. Reliefs. Fagade of Culleoni Chapel, Bergamo. 
 Monument of Bartolommeo Colleoni. " " " " 
 
 " Medea Colleoni. " 
 
 Sculptures. 
 Ammanati, Bartolommeo. 
 
 Monument of Cardinal de' Monti. 
 Statues of the Four Seasons. 
 Monument of Marco Mantova Benavides. 
 Angier, Francois. 
 
 Monument of Due de Montmorency. 
 " Due de Longueville. 
 
 " Due de Rohan. 
 
 Marble Crucifix. 
 Angier, Michael. Bust of Colbert. 
 Sculptures. 
 Christ on the Cross. 
 Sculptures. 
 Bacon, John. Monument of Earl of Chatham. 
 Monument of John Howard. 
 
 Dr. Johnson. 
 Statue of Judge Blachstone. All-SouVs College, Oxford. 
 
 " Thomas Guy. Gny's Hospital, London. 
 
 Bandinelli, Baccio. Hercules and Cacus. Front of Palazzo Vecchio, Florence. 
 Choir Screen. Cathedral, 
 
 Adam and Eve. Palazzo Vecchio, 
 
 Certosa, Pavia. 
 
 S. Pietro in Montorio, Rome. 
 
 Ponte SS. Trinita, Florence. 
 
 Eremitani, Padua. 
 
 Chapel of the College, Moulins. 
 
 Louxrre, Paris. 
 
 u u 
 
 Church of the Sorbonne, " 
 Louvre, " 
 Church, Valde Grace. 
 St. Roche, Paris. 
 Porte St. Denis, " 
 West7ninsier Abbey, London. 
 St. Paul's, " 

 
 AND MODERN SCULPTURES. 
 
 311 
 
 Banks, Thomas. Monument to Mrs. Pctree. Leicisham Church, Kent. 
 
 Monument of Sir Brook Boothby's Daughter. Ashbounie, Derbyshire. 
 
 " Sir Eyre Coote, Westminsler Abbey, London. 
 
 " Capts. Burgess and Westcott. St. Paul's, " 
 
 Caractacu? before Claudius. Stoice, England. 
 
 Barye, Antoine Louis. Lion. 
 
 Lion and Boa. 
 
 Jaguar devouring a Hare 
 
 Allegorical Figures. 
 
 Cullectiiin of .Siuljiturcs. 
 Eegarelli, Antouio (da Modena 
 
 IKscent from the Cross. 
 
 Statues. 
 Begas, Eheinhold. Schiller Monument. 
 
 Altar-i>iece. 
 Behnes, William. Statue of Dr. Babington. 
 
 Dr. BeU. 
 '■ Havelock. 
 Bernini, Giovanni Lorenzo. Apollo and Daphne 
 
 Baldaccbino. 
 
 Cathedra Petri. 
 
 Figures of Saints. 
 
 Tomb of Urban VI IL 
 " Alexander VIL 
 
 S. Teresa. S 
 
 Rape of Proserpine. 
 
 Fontana del Tritone. 
 
 Statue of S. Bibiana. 
 " S. Scbastiano. 
 Berruguete, Alonso. Reliefs. 
 
 Mununient of Cardinal Tavera. 
 Bologna, Jean de. Flying Mercury. 
 
 Efjuestrian Statue of Cosmo L 
 " " Ferdinand I 
 
 Statue of St. Luke. 
 
 Rape of the Sabines. 
 
 Fountain. 
 
 Colonne de Juillet, Paris. 
 Garden of the Tuileries, " 
 Luxembourg Gallery, " 
 Neio Louvre, " 
 Corcoran Gallery, Washington. 
 Descent from the Cross. S. Francesco, Modena. 
 
 S. Pielro, " 
 
 (1 >( 
 
 Schiller-Platz, 
 
 Berlin. 
 
 Werder Church, 
 
 ti 
 
 St. Paul's, London. 
 
 Westinitisler Abbey, 
 
 (1 
 
 Trafalgar Square, 
 
 It 
 
 Villa Borghese, 
 
 Rome. 
 
 St. Peter's, 
 
 t« 
 
 it 
 
 it 
 
 i< 
 
 It 
 
 (C 
 
 li 
 
 It 
 
 ti 
 
 S. Maria della Vittoria, " 
 
 Villa Ludovisi, " 
 
 Piazza Barberini, " 
 
 S. Bibiana, " 
 
 S. Sebasliano (Appian Way), " 
 
 Choir of Cathedral, Toledo. 
 Hospital of S. Juan, " 
 Ujjizi Gallery, Florence. 
 Piazza delta Signoria, " 
 Piazza della S. Annunziala, " 
 Or San Michele, " 
 Loggia de' Lanzi, " 
 Boboli Gardens, " 
 Piazza Netluno, Bologna. 
 
 Statuettes of Christ and St. John the Baptist. 
 
 Cathedral, Pisa. 
 
 Crucifixion. 
 
 it (i 
 
 Bronze Doors. 
 
 II ii 
 
 Bosio, FranQois Joseph. Reliefs. 
 
 Colonne Vendome, Paris. 
 
 Bn.ii/.e <^iiaclrig;i. 
 
 Arc de Triomphe, " 
 
 Marble Group. 
 
 Chapelle Expiatoire, " 
 
 Mytholof^'jcal Sculptures. 
 
 Louvre, " 
 
 Bouchardon, Edm6. Statues of the Apostles. 
 
 St. Sulpice, " 
 
 Cupid and Psyclie. 
 
 Loum'e, " 
 
 Victorious Cupid. 
 
 •i it 
 
 Girl with a Slag. 
 
 11 it
 
 312 
 
 CATALOGUE OF RENAISSANCE 
 
 Brown, Henry Kirke. 
 
 Equestrian Statue of Washington 
 " " Scott. 
 
 Statue of Gen. Greene 
 Erunellesco, Filippo. 
 
 Bronze Relief. 
 
 Modern Crueitix. 
 Buonarotti, Michael Angelo 
 
 Battle of Hercules and the Centaurs. 
 
 Angel with a Candelabrum. 
 
 Kneeling Cupid. 
 
 Pieta. 
 
 Madonna of Bruges. 
 
 Statue of David. 
 
 Tomb of Julius II. 
 
 Captives. 
 
 Statue of Christ. 
 
 Tombs of the Medici. 
 
 Madonna and Child. 
 
 Pieta. 
 
 Various works in Marble. 
 
 Bas-relief. 
 Campbell, Thomas. Monumental Sculptures 
 Statue of Mrs. Siddons. 
 " Pauline Borghese. 
 " Lord Bentinck. 
 
 Union Square, New York. 
 
 Washington, 
 
 National Statuary Hall, Washington. 
 
 Museum of the Bargello, Florence. 
 Capella del Gvnde, S. M. Novella, " 
 Head of a Faun. UJfizi Gallery, " 
 
 Casa Buonarroti, " 
 
 S. Dumenico, Bologna. 
 
 S. Kensington Museum, London. 
 
 St. Peter's, Home. 
 
 Cathedral, Bruges. 
 
 Academy of Fine Arts, Florence. 
 
 S. Pietro in Vincoli, Home. 
 
 Louvre, Paris. 
 
 S. Maria sopra Minerva, Rome. 
 
 S. Lorenzo, Florence. 
 
 Cathedral, " 
 
 Uffizi Gallery, " 
 
 Casa Buonarroti, " 
 
 St. Paul's, London. 
 Westminster Abbey, " 
 Gallery of Duke of Devonshire, Chatsworth. 
 CaveiuUsh Square, London. 
 
 Canova, Antonio. Daedalus and Icarus. 
 Theseus conquering the Minotaur. 
 Perseus. 
 Pugilists. 
 Venus Victrix. 
 Letizia. 
 Hebe. 
 Psyche. 
 Monument of Maria Christina. 
 
 " Clement XIII. 
 
 " Clement XIV. 
 
 Statue of Napoleon. 
 Head 
 Statue of Washington. 
 
 Pius VI. 
 Reliefs. 
 
 Venus at the Bath. 
 Monument of Alfieri. 
 Busts of Eminent Italians. 
 Cupid and Psjxhe. 
 
 Cellini, Benvenuto. 
 Shield. 
 Perseus. 
 
 Nymph of Fontainebleau. 
 
 Pisani Palace, Venice. 
 
 Votksgarten, Vienna. 
 
 Vatican, Rome. 
 
 Borghese Gallery, " 
 
 Coll. of Duke of Devonshire, London. 
 
 Museum, Berlin. 
 
 Royal Palace, Munich. 
 
 Chuv<ih of the Augusiines, Vienna. 
 
 St. Peter's, Rome. 
 
 Apsley House, London. 
 
 Corcoran Gallery, Washington. 
 
 State House, Raleigh, N. C. 
 
 Crypt of St. Peter's, Rome. 
 
 Church, Possagno. 
 
 Pitti Palace, Florence. 
 
 S. Croce, 
 
 Palace of the Conservaton, Rome. 
 
 Villa Carlotta, Como. 
 
 Louvre, Paris. 
 
 Windsor Castle. 
 
 Loggia cZe' Lanzi, Floi-ence.
 
 AND MODERN SCULPTUllES. 313 
 
 Chantrey, Sir Francis. Statue of James Watt. n'^estminster Abbey, London. 
 
 Statue of IJishup Ileber. St. Paul's, London. 
 
 " Washington. State House, Boston. 
 
 Bust of J. Bauks. Library of Royal Society, London. 
 
 " Mrs. Somerville. " « " " 
 
 Chaudet, Antoine Denis. 
 
 Sheplicril of I'olybus carrying away (Edipus. Louvre, Paris. 
 
 Kelicf. J'ei-istyle of Pantheon, " 
 
 Statue of Napoleon. Old Museum, Berlin. 
 
 Silvir .Staiue of IVate. Louvre, Paris. 
 
 Cibber, Caius Gabriel. I'hcenix. South Portal of St. Paul's, London. 
 
 Figures of Having and Melancholy Madness. S. Ktnsinyton .Uus., " 
 " Faith and Hope. Chapel, Chatsworih. 
 
 Mythological Works. " 
 
 Clemento, Prosperi (Spani). 
 
 Statui.s ot Adam and Kve. Portal of Cathedral, Retjijio. 
 
 Monument of Ugo Rangoni. " " 
 
 I'riniipai Altar. Cathedral, Parma. 
 
 Monunienl u{ I'rati. " " 
 
 Andreasi. " Mantua. 
 
 Colomb, Michael. Bas-relief of St. George and the Dragon. Louvre, J'aris. 
 
 Statue of riiilippe de Coniines and his Wife. " " 
 
 MonunKiit olFraiK-is II. and Marguerite de Foix. Cathedral, Nantes. 
 Cortot, Jean Pierre. Marble Group. Chapelle Expiatoire, Paris. 
 
 Pediment Group. Palais des Corps Legislatif, " 
 
 Crowtiiii^ of Napoleon. 'Arc de VEtoile, " 
 
 Coustou, Guillaume. Horse-tamers. Champs ^hjsies, " 
 
 Coustou, Nicholas. Sculptures. Louvre, " 
 
 Coysevox, Charles Antoine. Tomb of Cardinal Mazariu. " " 
 
 Bu.•^t of Bicheliuu. " •' 
 
 " Bossuet. " " 
 
 " Lebrun. " " 
 
 •' Mif,mard. " " 
 
 I-:mii' anil .Mercury. Entrance to Gardens of Tuileries, " 
 
 Crawford, Thomas G. Orpheus. Alhenaum, Boston. 
 
 Statue of Beethoven. Music Hall, " 
 
 Ilebc and Ganymede. Museum of Fine Art, " 
 
 Bust of Charles Sumner. " " " 
 
 Equestrian Statue of Washington. State Capitol, Richmond. 
 
 Allegorical Group. Qipitol, Washinr/ton. 
 
 Statue of Liberty. " " 
 
 Iiolian ('lii'f. nistorirnl Society, New York. 
 
 Damer, Anne Seymour. Statue of George III. Rufster Office, Edinburgh. 
 
 Bust of Countess of Aylesbury. Church, Tunbridye. 
 
 " Ni-lson. Common Council Chamber, Guildhall, Lundmi. 
 
 " BiKclius. Unirersity Gallery, Oxford. 
 
 Dannerker, Johann Heinrich. Bu»t of La\ attr. Library. Zurich. 
 
 Bu-t of .S( hilltr. Museum. Slulti/arl. 
 
 Statue of Christ. Imperial Collection, St. Pdirsburi/.
 
 314 
 
 CATALOGUE OF RENAISSANCE 
 
 Danuecker, Johann Heinricli. 
 
 Mythological Works. 
 
 Ariadue. 
 
 Bacchus. 
 
 Venus. 
 David, Pierre Jean. Reliefs. 
 
 Statue of Jefferson. 
 " Gutenberg. 
 
 Philopcemen. 
 Delvaux, Laurent. Pulpit. 
 
 Statue of Hercules. 
 Dexter, Henry. Portrait Busts. 
 
 Statue of Gen. Joseph Warren 
 
 Backwoodsman. 
 
 Binney Monument. 
 
 Statue of Christ. St. Emmeram, Ratishon. 
 
 Rosenstein Palace, near Stuttgart, 
 
 Beihmann Museum, Frankfort a. M, 
 
 New Palace, Stuttgart. 
 
 Pediment of the Pantheon, Paris. 
 
 Hall of Statuary, Washington. 
 
 Place Gutenberg, Strasburg. 
 
 Louvre, Paris, 
 
 Cathedral, Ghent, 
 
 Ducal Palace, Brussels, 
 
 Bunker Hill, Boston. 
 
 Wellesley College, Wellesley, 
 
 Mount Auburn, Cambridge, 
 
 Bust of Prof. Felton. Library of Harvard University, " 
 
 Drake, Friedrich. Madonna and Child. Royal Collection, St. Petersburg. 
 
 Allegorical Figures of Prussian Provinces. White Saloon of Palace, Berlin, 
 
 Statue of Frederick William III. Thiergarten, " 
 
 '♦ Prince von Putbus. Castle Park, Puibus. 
 
 Equestrian Statue of King William of Prussia. Railway Bridge, Cologne. 
 Statue of Rauch. Vestibule of Museum, Berlin. 
 
 " Schinkel. Bau-Acadamie-Platz, " 
 
 " Melanchthon. Markt-Platz, Wittenberg, 
 
 Monument of Duchess Pauline of Nassau. Cemetery, Weisbaden, 
 
 Figure of Djdng WaiTior. Wui-i-ior's Monument, Alx-la- Chapelle. 
 
 " Victory. Victory Column, Konigs-Platz, Berlin. 
 
 Duquesnoy, Francois. Groups of Children. St. Peter's, Rome. 
 
 Statue of St. Andrew. " " 
 
 " S. Susanna. S, Maria di Loreto, " 
 
 Fiesole, Mine da. Monument of Bernardo Giugni. Badia, Florence. 
 
 Sculptures. 
 Monument of Pope Paul II. 
 
 " Francesco Tornabuoni. 
 
 Marble Pulpit. 
 
 Monument of Liouardo Salutati. 
 Marble Altar. 
 Relief Portraits. 
 Ciborium. 
 Foley, John Henry. Statue of Prince Albert. 
 Group of Asia. 
 
 Equestrian Statue of Lord Hardinge. 
 " " Sir James Outram. 
 
 Crypt of St. Peteys, Rome, 
 S. M. sopra Minerva, " 
 
 Cathedral, Prato. 
 
 Cathedral, Fiesole. 
 
 11 11 
 
 Bargello, Florence. 
 
 Baptistery, Volterra. 
 
 Albert Memorial, London, 
 
 K K II 
 
 Calcutta. 
 
 Frazee, John. Bust of John Wells, Esq. 
 
 Grace Church, New York. 
 
 Bust of himself. 
 
 " Judge Marshall. 
 
 " John Jay. 
 Ghiberti, Lorenzo. Bronze Doors. 
 Shrine of St. Zenoblus. 
 
 Academy of Fine Arts, Philadelphia. 
 (1 11 (1 
 
 U. S. Supreme Court Room, Washington. 
 Baptistery, Florence. 
 Cathedral, "
 
 AND MODERN SCULPTURES. 
 
 315 
 
 Ghiberti, Lorenzo. Statue of St. Johu the Baptist. Or San Michele, Floi-ence. 
 Statue of St. Mattlu'w. " " " 
 
 St. Stephen. •' •' " 
 
 Trial Kolief. Museum of the Bargello, " 
 
 Gibbons, Grinling. Decorations in Wood-carving. Chatsworth. 
 
 " " " Pet worth. 
 
 St. Paul's, London. 
 St. James's, " 
 
 Choir Decorations. 
 Altar 
 MarMe Font. 
 Gibson, John. Mars and Cupid. 
 PsNxiie borne by Zephyrs. 
 
 Statue of Queen Victoria. 
 
 " Gcorpre Stevenson 
 
 " Mr. lluskisson. 
 
 Coll. of Duke of Devonshire, Chaiswoi-th. 
 Coll. of Sir George Beaumont. 
 Torlonia Palace, Rome. 
 Coll. of Graml Duke of Rus.<ia, St. Petersburg. 
 Buckiuf/ham Palace, London. 
 Westminster Palace, London. 
 St. George's Hall, Liverpool. 
 St. James Cemetery, " 
 
 Front of Custom-house, " 
 
 Crystal Palace, Sydenham. 
 
 Royal Academy, London. 
 
 Gardens, Veisailles. 
 
 Church of the Sorbonne, Paris. 
 
 Paris. 
 
 Louvre, " 
 
 Casts from Sculptures. 
 
 Models and Sketches.' 
 Girardon, FranQois. Rape of Proserpine. 
 
 Miiiiunuiit of Cardinal Richelieu. 
 Goujon, Jean. Fountain of the Innocents. 
 
 Reliefs from Fountain of the Innocents. 
 
 Statue of Diana. 
 
 Entombment of Christ. 
 
 Four Evangelists. 
 
 Monument of Duke de Brdz^. 
 Greenough, Horatio. Statue of Washington. Frontof the Capitol, Washington 
 
 Thr lii-cue. Eastern Portico of the Capitol, " 
 
 Gnillain, Simon, Bronze Statue of Louis XIII. 
 
 Bronze Statue of Anne of Austria. 
 " " Louis XIV. as a Child. 
 
 Hart, Joel T. Statue of Ilenrj' Clay. 
 
 i( 
 
 Cathedral, Rouen. 
 
 Louvre, Paris. 
 
 U (I 
 
 Statue of Voltaire. 
 
 Louisville. 
 New Orleans. 
 Theatre Frangais, Paris. 
 
 Hondon, Jean Antoine, 
 Bust of Moliere. 
 
 '* Rousseau. 
 Statue of Diana. 
 
 " Washington. 
 
 Bust of Lafayette. 
 
 " Washington. 
 Statue of ,S. Bruno. 
 Jtiste, Joan. 
 
 Munuincntof Louis XIII. and Anne'of Brctagne. Abbey Church, St. Denis. 
 " Children of Charles VIII. and Anne of Bretagne. 
 
 Cathedral, Tours. 
 Kisi, AngUBtna. L<iuestrian Statue of Frederick the Great. Grossc Ring, Breslau. 
 Statue of Frederick William III. " " 
 
 Louvre, " 
 
 U II 
 
 State House, Richmond. 
 
 II II 
 
 Collection of Hamilton Fish, New York. 
 S. Maria dtgli Angtli, Rome.
 
 316 CATALOGUE OF RENAISSANCE 
 
 Kiss, Augustus. Statue of Frederick William III. Kimigs- Garten, Konigsberg. 
 Model of Equestrian Statue of Frederick the Great. 
 
 Penn. Acad, of Fine Arts, Philadelphia. 
 Statue of Frederick William III. Wilkelms-Platz, Potsdam. 
 
 Relief. St. Nicholas, " 
 
 Fountain. Park of Sanssouci, " 
 
 Krafft, Adam. 
 
 The Seven Stages. Road to the Cemetery of St. Johannes, Nuremberg. 
 The Schre3'er Monument. St. Sebald, " 
 
 Tabernacle. St. Lawrence, " 
 
 Entombment. Holzschuher Chapel, Cemetery of St. Johannes, " 
 
 Labenwolf, Pankraz. Fountain. Courtyard of Rathhaus, " 
 
 Fountain. Gdnsenmarlct, " 
 
 Lemaire, Philippe Henri. Last Judgment. Pediment of the Madeleine, Paris. 
 Sculptures. Gallery of the Luxembourg, " » 
 
 " Pediment of St. Vincent de Paul, " 
 
 Relief. Chapelle Expiatoire, " 
 
 LeMot, FranQois Frederique. Bas-reliefs. Fagade of Louvre, " 
 
 Bas-reliefs. Tribune of Chamber of Deputies, " 
 
 Statue of Louis XIV. * Lyons. 
 
 Leopardo, Alessandro. 
 
 Monument of Andrea Vendramin. SS. Giovanni e Paolo, Venice. 
 
 " Cardinal Zeno. S. Marco, " 
 
 Altar in Zeno Chapel. " " 
 
 Pedestals of the Pillars of S. Marco. Piazza S. Marco, " 
 
 Statue of Colleoni. Front of Scuola di S. Marco, " 
 
 Lombardi, Alfonso (Cittadelli). Reliefs. Fagade of S. Petronio, Bologna. 
 Relief. Tomb of S. Domenico, Church of S. Domenico, " 
 
 Hercules and the Hydra. Palazzo Pubblico, " 
 
 Reliefs. Cathedral, Cesena. 
 
 Lombardo, Girolamo. Bronze Gates. Santa Casa, Loreto. 
 
 Madonna. Portal of Church of the Santa Casa, " 
 
 Maderno, Stefano. Statue of S. Cecilia. S. Cecilia in Trastevere, Rome. 
 
 Bas-reliefs. S. Maria Maggiore, " 
 
 Majano, Benedetto da. Marble Pulpit. S. Croce, Florence. 
 
 BustofPietroMellini. UJizi, " 
 
 Tomb of Filippo Strozzi. S. M. Novella, " 
 
 Altar. La Collegiata, S. Gimignano. 
 
 Shrine. S. Agostino, " 
 
 Martos, Ivan Petrovitch. Statues of Miniii and Pozharski. Moscow. 
 
 Monument of Prince Potemkin. Cherson. 
 
 " Emperor Alexander. Taganrog. 
 
 " Lomonosov. Archangel. 
 
 Masuccio, Tommaso de' Stefani. 
 
 Monument of King Robert the Wise. >Si. Chiara, Naples, 
 
 " Charles, Duke of Calabria. " " 
 
 Monuments. S. Domenico, '• 
 
 Micliallon, Claude. 
 
 Mausoleum of Jean Germain Drouais. S. Maria in Via Lata, Rome.
 
 AND MODERN SCULPTURES. 
 
 317 
 
 Michelozzi, Michelozzo. 
 i-iirure of iaith. 
 
 Sculptures iu Medici Chapel 
 Mills, Clark. Equestrian Statue of Jackson 
 lAjuestriau Statue of Jackson. 
 
 " " Washington. 
 
 Milmore, Martin. Bust of George Tickuor. 
 Bust 01 Wendell Phillips. 
 
 "' lialph Waldo Emerson. 
 " Tlie<.>dore Parker. 
 " Charles Sumner 
 Soldiers' Monument. 
 
 Tomb of John XXII I, Baptistery, Florence. 
 
 jS. Aliniato, near " 
 
 Washington. 
 
 New Orleans. 
 
 lyashington. 
 
 Public Library, Boston. 
 
 Statuary. 
 
 Memorial Sphinx. 
 Montanes, Juan Martinez. 
 
 Conception. 
 
 SiuljiturfS. 
 Montelupo, Baccio da. Statue of St. John 
 Montelupo, Rafael da. Bas-reliefs. 
 
 Miiuumcnt uf Baldassare Turiui. 
 
 Sculptures. 
 
 Fiirur<_'s upon Tonih of .Julius 11. 
 Montorsoli, Fra Giovanni Angelo. Sculptures 
 
 Metropolitan Atuseum, New York. 
 Common, Boston. 
 Forest IJills, " 
 Horticultural Ball, " 
 Mount Auburn, " 
 
 Chapel of S. Augustine, Cathedral, SevtUe. 
 
 Museum, " 
 
 Or San Michele, Florence. 
 
 Casa Santa, Loreto. 
 
 Cathedral, Peseta. 
 
 Castle of S. Angelo, Rome. 
 
 S. M. supra Minerva, " 
 
 S. Matteo, Genoa. 
 
 It 
 << 
 
 Sculptures. Palazzo del Prtncipi Doria, " 
 
 Fountain. Piazza of Cathedral, " 
 
 Nola, Giovanni da. Monument of the Brothers Severini. S. Severo, Naples. 
 
 Monument of Don Pedro di Toledo. S. Giacomo deyli Spngnuoli, 
 
 Monuments. 
 
 Kelief. 
 
 High Altar. 
 
 Statues of Saints. 
 Nollekens, Joseph. Officers' Monument. 
 
 Tomb of Bishop Thomas. 
 
 Medallir)n of Goldsmith. 
 
 l!u-t i.f .Mr. Townley. 
 Orcagna, Andrea. Tabernacle. 
 Pajou, Augustin. Sculptures. 
 
 Sculptures. 
 
 S. Domtnico, 
 
 S. Lorenzo, 
 
 11 11 
 
 Westminster Abbey, London. 
 
 British Museum, " 
 Or San Michele, Florence. 
 Palais Royal, Paris. 
 Opera House, V'ersailles. 
 Cathedral, Orleans. 
 Louvre, Pa7i.<. 
 
 r-y,lir. 
 Figalle, Jean Baptiste. 
 
 .Moiiiiiiniit to .Marshal Saxe. 
 
 Bust of Marshal Saxe. 
 
 Tomb of Marslial Ilarcourt. 
 
 Statue of Voltaire. 
 
 Vi'inis. 
 Pilon, Germain. 
 
 Monument of Henry H. and Catherine dc' Medici. Abbey Church, St. Denis. 
 
 St. Thomas, Strasburg. 
 Louvre, Paris. 
 Notre Dame, " 
 Institute of France, " 
 Garden of Sanssouci, Pulsdam.
 
 318 
 
 CATALOGUE OF RENAISSANCE 
 
 Second south door of Cathedral, Florence. 
 
 Campo Santo, Pisa. 
 
 Cathedral, Prato. 
 
 Cathedral, Pistoja. 
 
 Cathedral, Pisa. 
 
 Baptistery, ' ' 
 
 Cathedral, Sienna. 
 
 Perugia. 
 
 S. M. della Spina, Pisa. 
 
 Museum of the Bargello, Florence. 
 St. Peter's, Rome. 
 
 Filon, Germain. The Three Graces. Louvre, Paris. 
 
 Monument of R^ne de Birague and Valentine Balbiani. " " 
 
 Pisano, Andrea. Statues (formerly on Cathedral). Palazzo Strozzi, Florence. 
 
 Reliefs. Campanile, " 
 
 Bronze Door. Baptistery, " 
 
 Fisano, Giovanni. 
 
 Statue of the Madonna. 
 " Pisa. 
 " the Madonna. 
 
 Marble Pulpit. 
 
 Holy-water Basin. 
 
 Marble Pulpit. 
 Pisano, Niccola. Marble Pulpit. 
 
 Marble Pulpit. 
 
 Fountain. 
 Pisano, Nino. Sculptures. 
 Pollajuolo, Antonio. 
 
 Relief of the Crucifixion. 
 
 Monument of Sixtus IV. 
 
 " Innocent VIII 
 
 Porta, Fra Guglielmo della. 
 
 Monument of Pope Paul III. Tribune of St. Peter's, Rome. 
 
 Statues of Peace and Abundance. Farnese Palace, " 
 
 Powers, Hiram. Statue of Eve. Collection of A. T. Stewart, New York. 
 
 Greek Slave. Corcoran Gallery, Washington. 
 
 Ginevra. 
 
 Proserpine. . .^ 
 
 California. 
 
 La Penserosa. 
 
 Statue of Webster. 
 " Jefferson. 
 
 Bust of Judge Marshall. 
 " J. Q. Adams. 
 Fradier, Jacques, Niobe Group. 
 
 Psyche. 
 
 Atalanta. 
 
 Prometheus. 
 
 Marriage of the Virgin. 
 
 Sculptures. 
 Puget, Pierre. Milo of Crotona. 
 
 Perseus liberating Andromeda. 
 
 Alexander and Diogenes. 
 Querela, Jacopo della. Sculptures of Fonte Gaja. (?/>era del Duomo, Sienna. 
 
 Sculptured Font. Chapel of S.John, Cathedral, " 
 
 " " S. Giovanni, " 
 
 Reliefs of Door. S. Petronio, Bologna 
 
 Tomb of llaria Guinigi. Cathedral, Lucca. 
 
 Eaucli, Christian Daniel. Monument of Queen Louise. Ckarlottenburg. 
 
 Monument of Frederick William III. _ " 
 
 Metropolitan Museum, New York. 
 
 Lenox Library, " 
 
 State House Grounds, Boston. 
 
 Capitol, Washington. 
 
 U. S. Supreme Court Room, " 
 
 Fenn, Acad, of Fine Arts, Philadelphia. 
 
 Luxembourg Gallery, Paris. 
 
 Gardens of the Tuileries, " 
 
 Madeleine, " 
 
 Ste. Clothilde, " 
 
 Louvre, Paris.
 
 AND MODERN SCULPTURES. 
 
 319 
 
 Bauch. Cliristian Daniel. Statue of Queen Louise. Parko/Sanssouci, Potsdam. 
 
 Monument of Queen Frederica 
 
 " King Ernest Augustus. 
 
 " Frederick the Great. 
 
 Statue of Albert Diirer. 
 
 " August nermann Francke. 
 
 " Blucher. 
 
 " Gneisnau. 
 
 " York. 
 
 " Bliiclier. 
 Statues of First Christian Polish Kings. 
 Victories. 
 
 Monument to King Max-Joseph. 
 Afoses. 
 Rietschel. Ernst. Statues of Goethe and Schiller. 
 Madiinnu and the Dead Christ. 
 Statue of Lessing. 
 
 " Thaer. 
 Luther Monument. 
 Monument of Frederick Augustus. 
 Statue of Weber. 
 Bust of Luther. 
 Quadriga 
 Reliefs. 
 
 Ilerrenhausen, Hanover. 
 11 (1 
 
 Unter den Linden, Berlin. 
 
 Durer-Platz, Nuremberg. 
 
 Orphanaye, Halle. 
 
 Opem-Platz, Berlin. 
 
 
 11 
 It 
 
 BlUcher-Plat:, Breslau. 
 
 Cathedral, Posen. 
 
 Walhalla, Ratisbon. 
 
 Max-Joseph -PUi tz, ^[u n ich . 
 
 Fried e nskirch e, Potsilam . 
 
 Theatre-Platz, Weimar. 
 
 Friedenskirche, Potsdam, 
 
 Brunswick. 
 
 Leipzig. 
 
 Luther-Platz, Woj'ms. 
 
 Dresden. 
 
 Walhalla, Munich. 
 
 Portal of the Palace, Brunswick. 
 
 Hall of the University, Leipsic. 
 
 Morning, Noon, Evening, and Night. 
 
 In possession of H err von Wiihrman, Dresden. 
 Einehart, William Henry. Statue of Judge Taney. Annapolis. 
 
 Portrait Busts. 
 
 Clytie. 
 
 Endymion. 
 
 Sleeping Children. 
 
 Rebecca. 
 Bobbia, Luca della. Reliefs. 
 
 Marble Frieze. 
 
 Bronze Door of Sacristy. 
 
 Reliefs. 
 
 Altar in Terra-cotta. 
 
 Works of Luca and his School 
 Rogers, Randolph. Bronze Door. 
 
 Completion of Washington Monument 
 
 Figure of Ruth. 
 
 Figure of Nydia. 
 
 Genius of Connecticut. 
 
 Soldiers' Memorial. 
 
 Peabody Institute, Baltimore. 
 Corcoran Gallery of Art, Washington. 
 
 11 
 
 Boland, Phillippe Lanrent. 
 Statue of Iluuier, 
 Bust of Pajou. 
 
 Relief. 
 
 Exterior of Campanile, Florence, 
 
 Uffizi, " 
 
 Cathedral, " 
 II (( 
 
 S. Apostoli, " 
 Museum of the Bargello, " 
 
 Capitol, Washington. 
 Richmond. 
 
 Capitol, Hartford. 
 
 Cincinnati. 
 
 Detroit. 
 
 Providence. 
 
 Wurci sltr. 
 
 Palace, FontaintbUau. 
 
 Louvre, Paris,
 
 820 
 
 CATALOGUE OF RENAISSANCE 
 
 Church of S. M'miato. 
 Monte, Oliceto, Naples. 
 
 Westminster Abbey, London. 
 
 Arc de VEtoile, Paris. 
 Cemetery of Montmartre, " 
 
 Garden of the Luxembourg, " 
 
 It ti « II 
 
 Louvre, " 
 
 Bossellino, Antonio. 
 
 Monument of Cardinal of Portugal. 
 
 " Mary of Aragon. 
 
 Reliefs. 
 
 Reliefs upon Pulpit. Cathedral, Prato. 
 
 Reliefs. Uffizi Gallery, Florence. 
 
 Rossellino, Bernardo. Monument of Leonardi Bruni. S. Croce, Florence. 
 
 Monument of Beato Villani. ;S. M. Novella, " 
 
 Rossi, John Charles Felix. Monument of Lord Cornwallis. St. Paul's, London. 
 Monument of Lord Heathfield. " " 
 
 " Lord Rodney. *' " 
 
 " Captain Faulkner. " " 
 
 Boubiliac, Louis Francois. 
 
 Monument to Mrs. Nightingale. 
 " Duke of Argyle. 
 
 " Sir Peter Warren. 
 
 " George Frederick Handel. 
 
 Bude, Frangois. Relief (3farseillaise). 
 Monument of Godefroy Cavaignac. 
 Statue of Joan of Arc. 
 
 " Marshal Ney. 
 Mercury. 
 Rustici, Giovan-Francesco. 
 
 Preaching of St. John the Baptist. Northern door of Baptistery, Florence. 
 Sansovino, Andrea (Contuccio). 
 
 Baptism of Christ. Above eastern door of Baptistery, Florence. 
 
 Monument of Cardinal Ascanio Maria Sforza. S. M. del Popolo, Borne. 
 
 " Cardinal Girolamo Basso. " " " 
 
 Virgin and Child and St. Anna. 
 Statues and Reliefs. 
 Sansovino {Jacopo Tatti). Bronze Reliefs. 
 Bronze Gate of the Sacristy. 
 Four Evangelists. 
 
 Sculptures in Loggetta of Campanile. 
 Statue of St. John. 
 Schadow, Johann Gottfried. 
 
 Statue of Frederick the Great. 
 " Marshal Bliicher. 
 " Luther. 
 Quadriga of Victory. 
 Scheemakers, Pieter. Monument to Shakespeare. Westminster Abbey, London. 
 Monument to Dryden. " " " 
 
 " Hugh Chamberlain. " " «' 
 
 Schievelbein, Herman. Pegasus and the Horae. Old Museum, Berlin. 
 
 Destruction of Pompeii. New Museum, " 
 
 Schliiter, Andrea. Statue of Great Elector. Kurfiirsten-B ruche, " 
 
 Decorations of Arsenal. " 
 
 " Royal Palace. «« 
 
 " " Charlottenburg. 
 
 S. Agostino 
 
 11 
 
 Casa Santa, 
 
 Loreto 
 
 Choir of S. Marco, 
 
 Venice 
 
 S. Marco, 
 
 II 
 
 Altar, S. Marco, 
 
 K 
 
 S. Marco, 
 
 11 
 
 Font, S. M. dei Frari, 
 
 Venice 
 
 Theatre-Platz, Stettin. 
 
 Bliich er-Platz, Rostock. 
 
 Marht-Platz, Wittenberg. 
 
 Brandenburg Gate, Berlin.
 
 AND MODERN SCULPTURES. 
 
 321 
 
 Schwanthaler, Ludwig Michael 
 Statue of Mozart. 
 
 " Jean I'aul. 
 
 " Goethe. 
 Shield of Hercules. 
 IVdimeut Groups. 
 Statues of Christ and Evangelists 
 Statues. 
 Reliefs. 
 
 Statues. 
 Reliefs. 
 
 Allegorical Figures. 
 Statuos. 
 
 Statue of Bavaria. IlaU of Fame, Munich. 
 
 Salzburg. 
 Baireuth. 
 Goethe-Platz, Frankfort a. .\f. 
 Stadtl Institute, " " 
 
 Walhalla, Ratisbon. 
 Ludwii/skirche, Munich. 
 Library, ♦' 
 Palace of Dule Max, " 
 Projiyliva, " 
 Glyptothtk, " 
 Pinakothik, " 
 Ruynl Paliice, " 
 Porch of Ftstsaalbau, " 
 Throne-room of 
 
 Settignano, Desiderio da. Monument of Carlo Marsuppini. S. Croce, Florence. 
 Bu>t uf Marietta Strozzi. Slrozzi Palace, " 
 
 Holy Child. 
 
 Rili.'f. 
 Stevens. Alfred. AVellington Monument. 
 Story, William Wetmore. Sutue of Judge Story 
 
 Statue of George I'eabody. 
 
 Seniiramis. 
 
 Cleopatra. 
 
 Stoss, Veit. High Altar. 
 
 Monument of Casimir the Great. 
 
 Wood-cars-ing. 
 It 
 
 Panel of Roses. 
 Thorvaldsen, Bertel. Jason. 
 Ailoiiis. 
 Cupid and Psyche. 
 
 Night and Morning. 
 
 tt it 
 
 Ganymede and the Eagle. 
 Triumph of Alexander. 
 
 <S. Lorenzo, " 
 
 Badia, Fiesole. 
 St. Paul's, London. 
 Chapel, Mount Auburn. 
 London. 
 Baltimore. 
 Metropolitan Museum of Art, New York. 
 
 St. Mary's, Cracow. 
 Cathedral, " 
 St. Lawrence, Nuremberg. 
 St. Sebald, " 
 
 Burykapelle, " 
 
 Thorvaldsen Museum, Copenhagen. 
 Glyptothek, Munich. 
 
 Thorvaldsen Museum, Copenhagen. 
 
 ti tt it 
 
 Coll. of Duke of Devonshire, Chatsworth. 
 Thorvaldsen ^Museum, Copenhagen. 
 Villa Carlotla, Lake Como. 
 Palace of Christiansborg, Copenhagen. 
 
 Lucerne. 
 
 Munich. 
 
 Mainz. 
 
 Stuttgart. 
 
 F.xterior of Frue Kirke, Copenhagen. 
 
 Dying Lion. 
 
 E<iue«trian Statue of Maximilian. 
 Statue of Gutenberg. 
 Schiller Monument. 
 Reliefs. 
 
 Statues of Christ and the Apostles. Interior 
 The Uftt Supper. 
 
 The Ang.l of Haptinm. " " " " 
 
 C>ipii-t aii'l Mo(1«-1m of Work-". Thorvaldsen Museum, " 
 
 Tieck, Christian Friedrich. Sculjiturcs. Theatre, Berlin. 
 
 Horii-. Mausoleum of Queen Louise, Potsdam.
 
 322 CATALOGUE OE SCULPTURES. 
 
 Torrigiano, Pietro. Monument of Henry VII. and Queen Elizabeth. 
 
 Chapel of Henry VII., Westminster Abbey. 
 
 Monument of Margaret of Richmond. " " " " 
 
 Trebatti, Paolo Ponzio. Monument of Prince Albert of Savoy. Louvre, Paris. 
 
 Monument of Charles de Magny. " " 
 
 Van Cleves, Cornelius. Polyphemus on the Rock. " " 
 
 Verocchio, Andrea, Bronze David. Museum of the Bargello, Florence. 
 
 Equestrian Statue of Colleoni. Front of SS. Giovanni e Paolo, Venice. 
 Vinci, Pierino da. Death of Count Ugolino and his Sons. 
 
 Palace of Count of Gherardesca, Florence. 
 
 Madonna and Child with Saints. Uffizi Gallery, " 
 
 Restoration of Pisa. Vatican, Home. 
 
 Vischer, Johann. Monument of Bishop Bibra. Cathedral, Wiirzburg. 
 
 Vischer, Peter. Tomb of S. Sebald. S. Sebald, Nuremberg. 
 
 Monument of Bishop Ernst. Cathedral, Magdeburg. 
 
 Monumental Relief. Cathedral, Raiisbon. 
 
 Statue of Apollo. Gallery of Rathhaus, Nuremberg. 
 
 Weeks, Henry. Bust of Southey. Westminster Abbey, London. 
 
 Bust of Zachary Macaulaj'. '• " " 
 
 Victoria. 
 Westmacott, Bichard. Monument of Dr. Howley. Cathedral, Canterbury. 
 
 Monument of Earl of Hardwicke. Wimpole. 
 
 Wycliffe Preaching (Bas-relief). Church, Lutterworth. 
 
 Westmacott, Sir Richard. Monument to Fox. Westminster Abbey, London. 
 
 Monument to Percival. " " " 
 
 " Mrs. Warren. " " " 
 
 " Generals Pakenham and Gibbs. St. Paul's, " 
 
 Statue of Duke of Wellington. JTyde Park Corner, " 
 
 Wilton, Joseph. Monument to General Wolfe. Westminster Abbey, " 
 Wyatt, Mathew Cotes. 
 
 Monument of Princess Charlotte. St. George's Chapel, Windsor. 
 
 Equestrian Statue of Duke of Wellington. Green Park Arch, London. 
 
 Statue of George III. Pall Mall, " 
 
 Monument to Lord Nelson. Liverjmol.
 
 WORKS IN MODERN SCULPTUKB 323 
 
 INTERESTING WORKS IN MODERN SCULPTURE 
 IN THE UNITED STATES. 
 
 Bailly, Joseph A. 
 
 Wa.-liiiigton Monument. Front of Old Slate House, Philadelphia. 
 
 The First Prayer. Coll. of Mr. Iltnry C Gibson, 
 
 The Expubioii from Eden. 
 
 Statue of General John A. Rawlins. Rawlins Square, ]Vashin<j(on. 
 
 Ball, Thomas. 
 
 E<iuestrian Statue of Washington. Public Garden, Boston. 
 
 Emancipation Monument. Lincoln Square, " 
 
 Statue of John Albion Andrew. State House, " 
 
 " r>aiiiel Webster. Central Park, New York. 
 
 Bartholdi, Auguste. 
 
 Erieze in liigii relief, representing Baptism, Communion, Marriage, and 
 Death, with statues of Angels of the Judgment. 
 
 Tower of the Brattle Square Church, Boston. 
 Bartholomew, Edward Shefl&eld. 
 
 E\ e licpcutani. Wadswwth Atheticeum, Hartford. 
 
 Sappho. 
 
 Diana. " •• " 
 
 Brown, Henry Kirke. 
 
 IvjUL-strian Statue of Washington. Union Square, IVew York. 
 
 Statue of General Greene. National Statuary Hall, Washington. 
 
 Equestrian Statue of General Scott. 
 
 Comur of .\fassachusetts and Rhode Island Avenues, Washiuf/ton. 
 
 Bas-relief. Church oj the Annunciation, New York. 
 
 Angel of the Resurrection. Greenwood Cemetery, " 
 
 Husf of John C. Breckcnridge. Coixoran Gallery of Art, Washington. 
 
 Calverly, C. 
 
 I'.ii-t if .I.lm r.rown. Union League Club, New Yoi'k. 
 
 Caroni, Prof. Emanuele (Florence). 
 
 Early Youth (I^ I'rima Gioventii). Corcoran Gallery of Art, Washington. 
 Civiletti, Benedetto n'alermo). 
 
 MonuriHiit r,f Mi-s I>awton. Savanntih. 
 
 Foley, John Henry, B. A. 
 
 Staiuf .(f (iiiieral (" Stoiiew;ill ") Jackson. Richmond. 
 
 French, Daniel C. The Minute Man. Old Battle Groutul, Cotimrd. 
 
 Gould, Thomaa R. 
 
 Stalia- (.f .I(,hii .\lbioii Andrew. Cemetery, Hinyham.
 
 324 IN THE UNITED STATES. 
 
 Greenough, Bichard S. 
 
 Statue of John Winthrop. Chapel at Mount Auburn, neaf Boston. 
 
 Gregoire, Hugo (Alsace). Corcoran Gallery of Art, Wasldnqton. 
 Guarnerio, Pietro (Milan). 
 
 The Forced Prayer (La Preghiera). Corcoran Gallery of Art, Washington. 
 
 Hosmer, Harriet G. 
 
 Will 0' the Wisp. Museum of Fine Arts, Boston. 
 
 Puck. Collection of Hon. Samuel Hooper, " 
 
 2enobia. Collection of A. W. Griswold, Esq., New Torlc. 
 
 CEnone, Shepherd Wife of Paris. Coll. of Way man Crow, Esq., St. Lmis. 
 Bust of Daphne. " " " u 
 
 Beatrice Cenci. Mercantile Library, " 
 
 Statue of Colonel Benton. Lafayette Park, " 
 
 Kreling, Albert von. 
 
 Tiie Tyler Davidson Fountain. Cincinnati. 
 
 MacDonald, Wilson. 
 
 Statue of Fitz-Greene Halleck. Central Park, New York. 
 
 Meade, Larkin G. 
 
 Lincoln Monument. Springfield. 
 
 Statuette of Echo*. Corcoran Gallery of Art, Washinyton. 
 
 Milmore, Martin. Memorial Sphinx. Mount Auburn, near Boston. 
 
 Bust of Hon. George Ticknor. Public Library, " 
 
 Soldiers' Monument. Common, " 
 
 Soldiers' Memorial (an adaptation of Thorvaldsen's Lion at Lucerne). 
 
 „., Colby University, Waterville. 
 
 Mills, Clark. 
 
 Equestrian Statue of General Andrew Jackson. (The metal of guns and 
 mortars captured by the General at Pensacola was used in the casting.) 
 
 Lafayette Sqtiare, Washington. 
 Equestrian Statue of Washington. Washington Circle, " 
 
 Bust of Washington. (From Houdon's original in plaster.) 
 
 Corcoran Gallery of Art, " 
 
 Rauch, Christian Daniel (Berlin). 
 
 Bust of Alexander von Humboldt. Corcoran Gallery of Art, Washington. 
 Bust of Victory. Lenox Library, New York. 
 
 Eimmer, Dr. William. 
 
 Statue of Alexander Hamilton. Commonwealth Avenue, Boston. 
 
 Rinehart, WUliam H. 
 
 Clytie. Peabody Institute, Baltimore. 
 
 Clytie (cast). Corcoran Gallery of Art, Washington. 
 
 Endj'mion. " " <' " 
 
 Sleeping Children. " " " " 
 
 Bronze Door. (Executed from designs by Crawford.) 
 
 Capitol, Washington. 
 Rogers, Randolph. Bronze Door. " " 
 
 Angel of the Resurrection. Monument of Colonel Colt, Hartford. 
 
 Soldiers' Monument. Providence. 
 
 Statue of John Adams. Chajyel at Mount Auburn, near Boston. 
 
 " William H. Seward. Madison Square, New York.
 
 MODERN SCULPTURE IN THE UNITED STATES. 325 
 
 Simmons, Franklin. 
 
 Statue of Roger Williams. National Statuary /Tall, Washuif/tim. 
 
 " '• " Roger Williams Park, rroriiltitce. 
 
 Stebbins, Emma. 
 
 BetlKMla Fountain. Central Park, New York. 
 
 Statue of Columbus. 
 Steell, Sir John (Dundee). 
 
 Statue of Sir Walter Scott. Central Park, Xew York. 
 
 " Robert Burns. " 
 
 Bust of Sir Walter Scott. Lenox Library, " 
 
 " Dr. Chalmers. " " " 
 
 Saint-Gaudens, Augustus. 
 
 Statue of Admiral Farragut. Madison Square, New York. 
 
 Stone. Horatio. 
 
 Statue t.f Alexander Hamilton. National Statuary Hall, Washinyton. 
 Story, William Wetmore. 
 
 Statui- (if .Uid^^e Story. Chapel at Mount Auburn, near Boston. 
 
 Edward Everett. Public Garden, " 
 
 Thompson, Lannt. 
 
 .^tatue of Abraham Pierson. * New Haven. 
 
 General Wintield Scott. Soldiers' Home, near \V(isliin;/t(m. 
 
 " Napoleon. In possession of Mr. Pinchot, Milford, Pa. 
 
 Trentanove. Baimondo. 
 
 Bust of Washington, Lenox Library, New York. 
 
 " Napoleon. " " 
 
 Triqueti. Henri de. 
 
 \'ir_'il aiiil Dante. Museum of Fine Arts, Boston. 
 
 Trombetti. Ezechiele (Milan). 
 
 lb.- Fir~t Steps (I Primi Passi). Corcoran Gallery of Art, Washington. 
 Vela, Vincenzo (Milan). 
 
 The Last Days of Napoleon I. (Gli ultimi Giomi di Napoleone primo). A 
 replica of the Statue at Versailles. 
 
 Corcoran Gallery of Art, Washington. 
 (Vincenzo Vela was a native of Switzerland, born in 1822, died in 1891. 
 He was one of the moft gifted of modern sculptors; his work is espe- 
 cially remarkaljle for repose and grandeur of expression.) 
 Ward, John Quincy Adams. 
 
 The Good Samaritan. (Memorial of the discovery of anxsfhetics.) 
 
 Public Garden, Boston. 
 Statue of Slmkespeare. Central Park, New York. 
 
 Indian Hunter. " 
 
 Statue of Commtxlore Perr>'. Park, Newport. 
 
 In.lian Hunter an.l Dog. ' Coll. of J. C McGuire, Esq., Washington. 
 Sutue of Israel Putnam. Bashntll J'ark, Hartford.
 
 ANCIENT GEECIAN AND EOMAN SCULPTOES. 
 
 Agasias. 
 
 Ageladas. 
 
 Agesander. 
 
 Agoracritus. 
 
 Alcamenes. 
 
 Apollonius (first). 
 
 Apollonius (second). 
 
 Aristocles. 
 
 Bcedas. 
 
 Bryaxis. 
 
 Calamis. 
 
 Callimachus. 
 
 Gallon. 
 
 Canachus. 
 
 Cephisodotus (the elder). 
 
 Cephisodotus (the younger). 
 
 Chares (of Lindos). 
 
 Cleomenes. 
 
 Colotes. 
 
 Cresilas. 
 
 Daippus. 
 
 Dionysius. 
 
 Euthycrates. 
 
 Eutychides. 
 
 Glaucus. 
 
 Glycon. 
 
 Leochares. 
 
 Lycius. 
 
 Lysippus. 
 
 Lystratus. 
 
 Myron. 
 
 Naucydes. 
 
 Onatas. 
 
 Phidias. 
 
 Polycletus (the elder). 
 
 Polycletus (the younger). 
 
 Praxiteles. 
 
 Pythagoras. 
 
 Scopas. 
 
 Tauriscus. 
 
 Timarchus. 
 
 Timotheus.
 
 REXAISSAXCE AND MODERN SCULPTORS. 
 
 American. 
 
 Brown, Henry Kirke. 
 Crawford. Thomas G. 
 Dexter, Henry. 
 Frazee, John. 
 Greenough, Horatio. 
 Hart, Joel T. 
 Milb, Clark. 
 
 
 Bacon, John. 
 Banks, Thomas. 
 liehnes, William. 
 Campbell, Thomas. 
 Chantrey, Sir Francis. 
 Cibber, Caius Gabriel. 
 Damer, Anne Seymour. 
 Foley, John Henry. 
 Flaxman, John, 
 iiibbons, Grinliug. 
 
 Milmore, Martin. 
 Powers, Hiram. 
 Rineliart, William Henry. 
 Rogers. Randolph. 
 Story, William Wetmore. 
 Weeks, Henry. 
 
 Danish. 
 
 Thon'aldsen, Bertel. 
 English. 
 
 Gibson, John. 
 Nollekens, Joseph. 
 Rossi, John Charles Felix. 
 Stevens, Alfred. 
 Westmacott, Richard. 
 Westmaeott, Sir Richard. 
 Wilton, Joseph. 
 Wyatt, Mathew Cotes. 
 Wyatt, Richard J. 
 
 French. 
 
 Anguier, Francois. 
 AngTiier, Michel. 
 Barj'e, Antoine Louis, 
 liosio, Francois Joseph. 
 IViuchardon, Kdm<^. 
 Chaudft. Antoine Denis. 
 Colomb. .Michel. 
 Cortot, Jean Pierre. 
 Coustou, Giiillaum. 
 Coustou, Nicolas. 
 Coyki-vox, (Jlmrles Antoine. 
 David, Pierre Jean. 
 Duquetnoy, Francois. 
 
 Fri-niin, Rend. 
 Girardon, Fran90is. 
 Goujon, Jean. 
 Guillain, Simon. 
 Houdon, Jean Antoine. 
 Juste, Jean. 
 Juste, Juste le. 
 Lemaire,- Philipi>e Henri. 
 Le Mot, Fran<;ois Fredcrique. 
 Lc Moyne, Jean Baptiste. 
 Le Moyne, Jean Louis. 
 Lorrain, Robert le. 
 Lucas, Fran9oi8.
 
 328 RENAISSANCE AND MODERN SCULPTORS. 
 
 Masson, Francois. 
 Michallon, Claude. 
 Pajou, Augustin. 
 Pigalle, Jean Baptiste. 
 Pilon, Germain. 
 
 Pradier, Jacques. 
 Puget, Pierre. 
 Roland, Philippe Laurent. 
 Roubiliac, Louis Fran9ois. 
 Rude, Fran9ois. 
 
 German, Flemish, and Dutch. 
 
 Adam, Gaspard. 
 Adam, Lambert Sigishert. 
 Adam, Nicolas Sebastien. 
 Begas, Rheinhold. 
 Cleves, Cornelius Van. 
 Dannecker, Johann Heinrich. 
 Delvaux, Laurent. 
 Drake, Friedrich. 
 Krafft, Adam. 
 Kiss, Augustus. 
 Labenwolf, Pankraz. 
 Ranch, Christian Daniel. 
 Rietschel, Ernst. 
 
 Roland, Philippe Laurent. 
 Schadow, Johann Gottfried. 
 Schadow, Johann Rudolf. 
 Scheemakers, Pieter. 
 Schievelbein, Herman. 
 Schliiter, Andrea. 
 Schwanthaler, Ludwig Michael. 
 Stoss, Veit. 
 
 Tieck, Christian Friedrich. 
 Vischer, Herman. 
 Vischer, Johann. 
 Vischer, Peter. 
 
 Italian. 
 
 Algardi, Alessandro. 
 
 Amadeo, Giovanni Antonio. 
 
 Ammanati, Bartolommeo. 
 
 Area, Niccolo dell', i 
 
 Bandinelli, Baccio. 
 
 Bandini (Giovanni dell' Opera). 
 
 Begarelli, Antonio. 
 
 Bernini, Giovanni Lorenzo. 
 
 Betto Bardi, Donato di (Donatello). 
 
 Bologna, Jean de. 
 
 Brunellesco, Filippo. 
 
 Buonarotti, Michael Angelo. i 
 
 Camiano, Tino di. 
 
 Canova, Antonio. 
 
 Cellini, Benvenuto. 
 
 Cioli, Valerio. 
 
 Clone, Andrea (Orcagna). 
 
 Clementi, Prospero (Spani). 
 
 Danti, Vincenzo. 
 
 Donatello (Donato di Betto Bardi). 
 
 Fiesole, Mino da. 
 
 Ghiberti, Lorenzo. 
 
 Guglielmo, Fra. 
 
 Leopardo, Alessandro. 
 
 Lombardo, Alfonso. 
 
 Lombardi, Girolamo. 
 
 Lorenzi, Battista. 
 
 Maderno, Stefano. 
 Majano, Benedetto da. 
 Masuccio (the elder). 
 Masuccio (the j'ounger). 
 Merliano (Giovanni da Nola). 
 Michael Angelo Buonarotti. 
 Michelozzi, Michelozzo. 
 Montelupo, Baccio da. 
 Montelupo, Rafael da. 
 Montorsoli, Fra Giovanni Angelo. 
 Nola, Giovanni da (Merliano). 
 Opera, Giovanni dell' (Bandini). 
 Orcagna, Andrea (Clone). 
 Pericolo, Niccola. 
 Pisano, Andrea. 
 Pisano, Giovanni. 
 Pisano, Niccola. 
 Pisano, Nino. 
 Pollajuolo, Antonio. 
 Porta, Fra Guglielmo della. 
 Querela, Jacopo della. 
 Robbia, Luca della. 
 Rossellino, Antonio. 
 Rossellino, Bernardo. 
 Rustici, Giovan-Francesco. 
 Sangallo, Francesco da. 
 Sansovino, Andrea.
 
 RENAISSANCE AND MODERN SCULPTORS. 
 
 329 
 
 Sansovino (Jacopo Tatti). 
 Santacroce, Girolamo. 
 Settiiinano, Desiiierio da. 
 Spani (l*rospero Clcmenti). 
 Tatti, Jacopo (Sansovino). 
 
 Torrig^ano, Pietro. 
 Trebatti, Paolo Ponzio. 
 Verocchio, Andrea. 
 Vinci, Leonardo da. 
 Vinci, Pierino da. 
 
 Russian. 
 Martos, Ivan Petrovitch. 
 
 Alvarez, Don Jose?. 
 Alvarez, Don Manuel. 
 Ik-rruguete, Alonso. 
 Cano, AKinso. 
 Hernandez, Gregorio. 
 
 Spanish. 
 
 Jordan, Esteban. 
 Montafies, Juan Martinez. 
 Roldan, Luise. 
 Roldan, Pedro.
 
 GEis"EEAL IXDEX. 
 
 Adam, Gaspard, 194. 
 Adam, Lambert Sigisbert, 192. 
 Adam, Nicholas SebasUen, 193. 
 Agasias, 37. 
 Ageladas, 5. 
 Agesander, 36. 
 Agoracritus, 21. 
 Alcamenes, 18. 
 Algardi, Alessandro, 176. 
 Alvarez, Don Jos^, 231. 
 Alvarez, Don Manuel, 232. 
 Amadeo, Giovanni Antonio, 91. 
 Ammanati, Bartolommeo, 160. 
 Anguier, Francois, 178. 
 Anguier, Michel, 179. 
 Apolloniiis (first), 40. 
 Apollonius (second), 42. 
 Area, Niccolo dell', 65. 
 Ariotocles, 4. 
 Bacon, John, 203. 
 
 Bandinelli, Baccio, 148. 
 
 Bandiui (Giovanni dell' Opera), 150. 
 
 Banks, Thomas, 198. 
 
 Barj-e, Antoine Louis, 265. 
 
 Begarelli, Antonio, 153. 
 
 Begas, Kheinhold, 273. 
 
 Behnes, William, 204. 
 
 Ikrnini, Giovanni Lorenzo, 173. 
 
 Berruguete, Alonso, 147. 
 
 Betto Banli, Donate di (Donatello), 73. 
 
 Bd-nJas, 35. 
 
 Bologna, .Jean de, 107. 
 
 Bosio, Francois .Joseph, 232. 
 
 Bouchardon, Edm<-, 191. 
 
 Brown, Henry Kirke, 299. 
 
 Brunellesco, Filipp<j, 05. 
 
 Brya.xis 28. 
 
 Biionarotti, Michael Angelo, 124. 
 
 Calarol.H, 7. 
 
 C'allimachus, 24. 
 
 Gallon, 6. 
 
 Cambio, Arnolfo del, 51. 
 Camiano, Tino di, 51. 
 Campbell, Thomas, 259. 
 Cauachus, 4. 
 Cano, Alouso, 178. 
 Canova, .\ntonio, 211. 
 Cellini, Benvenuto, 155. 
 Cephisodotus (the elder), 26. 
 Cephisodotus (the younger), 27. 
 Chantrey, Sir Francis, 253. 
 Chares (of Lindos), 35. 
 Chaudet, Antoine Denis, 229. 
 
 Gibber, Caius Gabriel, 182. 
 
 Cioli, Valeric, 150. 
 
 Cione, Andrea (Orcagna), 60. 
 
 dementi, Prospero (Spani), 159. 
 
 Cleomenes, 39. 
 
 Cleves, Cornehus Van, 184. 
 
 Colomb, Michel, 100. 
 
 Colotes, 22. 
 
 Cortot, .Jean Tierre, 234. 
 
 Coustou, Guillaume, 183. 
 
 Coustou, Nicolas, 183. 
 
 Coysevox, Charles Antoine, 183. 
 
 Crawford, Thomas G., 293. 
 
 Cresiias, 22. 
 
 Daippus, 35. 
 
 Darner, Anne Seymour, 200. 
 
 Dannecker, Johann Heinrich, 221. 
 
 Danti, Vincenzo, 119. 
 
 David, Pierre .Jean, 256. 
 
 Delvnu.x, I^aurent, 188. 
 
 De.xter, Henry, 297. 
 
 Dionysius, 5. 
 
 Doniitello (Donatodi Betto Bardi), 73. 
 
 Drake, Friedrich, 282. 
 r)u(|iiesnoy, Fran(;oi8, 172. 
 Eutliycrafes, 35. 
 Kutychides, 35.
 
 332 
 
 GENERAL INDEX. 
 
 Fiesole, Mino da, 93. 
 Flaxman, John, 209. 
 Foley, John Henry, 302. 
 Frazee, John, 260. 
 Frt^min, Ren(^, 187. 
 Ghiberti, Lorenzo, 69. 
 Giam-Bologna, 167. 
 Gibbons, Grinling, 184. 
 Gibson, John, 261. 
 Girardon, Fran9ois, 183. 
 Glaucus, 5. 
 Glycon, 3-4. 
 Goujon, Jean, 169. 
 Greenough, Horatio, 288. 
 Guglielmo, Fra, 51. 
 Guillain, Simon, 172. 
 Hart, Joel T., 292. 
 Hernandez, Gregorio, 148. 
 Houdon, Jean Antoine, 203. 
 Jacquio, Ponce, 167. 
 Jordan, Esteban, 148. 
 Juste, Jean, 154. 
 Juste, Juste le, 155. 
 Krafft, Adam, 98. 
 Kiss, Augustus, 272. 
 Labenwolf, Pankraz, 118. 
 Lemaire, Philippe Henri, 267. 
 Le Mot, Fran9ois Frederique, 243. 
 Le Moyne, Jean Baptiste, 193. 
 Le Moyne, Jean Louis, 193. 
 Leochares, 28. 
 Leopardo, Alessandro, 109. 
 Lombardi, Alfonso, 150. 
 Lombardo, Girolamo, 160. 
 Lorenzi, Battista, 150. 
 Lorrain, Robert le, 193. 
 Lucas, Franpois, 200. 
 Lycius, 10. 
 Lysippus, 33. 
 Lj'sistratus, 35. 
 Maderno, Stefano, 170. 
 Majano, Benedetto da, 106. 
 Martos, Ivan Petrovitch, 227. 
 MassoD, Fran9ois, 205. 
 Masuccio (the elder), 59. 
 Masuccio (the 3'ounger), 59. 
 Merliano (Giovanni da Nola), 152. 
 Michael Angelo Buonarotti, 124. 
 Michallon, Claude, 208. 
 Michelozzi, Michelozzo, 88. 
 Milanese, 162. 
 
 Mills, Clark, 300. 
 
 Milmore, Martin, 306. 
 
 Montaiies, Juan Martinez, 177. 
 
 Montelupo, Baccio da, 108. 
 
 Montelupo, Rafael da, 109. 
 
 Montorsoli, Fra Giovanni Angelo, 157. 
 
 Myron, 9. 
 
 Naucydes, 26. 
 
 Nola, Giovanni da (Merliano), 152. 
 
 Nollekeus, Joseph, 200. 
 
 Onatas, 6. 
 
 Opera, Giovanni dell' (Bandini), 150. 
 
 Orcagna, Andrea (Clone), 60. 
 
 Pajou, Augustin, 197. 
 
 Pericolo, Niccolo (Tribolo), 121. 
 
 Phidias, 11. 
 
 Pigalle, Jean Baptiste, 194. 
 
 Pilon, Germain, 165. 
 
 Pisano, Andrea, 56. 
 
 Pisano, Giovanni, 51. 
 
 Pisano, Niccola, 45. 
 
 Pisano, Nino, 59. 
 
 PoUajuolo, Antonio, 103. 
 
 Polycletus (the elder), 24. 
 
 Polycletus (the younger), 25. 
 
 Porta, Fra Guglielmo della, 162. 
 
 Powers, Hiram, 283. 
 
 Pradier, Jacques, 258. 
 
 Praxiteles, 30. 
 
 Puget, Pierre, 180. 
 
 Pythagoras, 9. 
 
 Querela, Jacopo della, 62. 
 
 Rauch, Christian Daniel, 246. 
 
 Rietschel, Ernst, 273. 
 
 Rinehart, William Henry, 304. 
 
 Robbia, Luca della, 90. 
 
 Rogers, Randolph, 305. 
 
 Roland, Philippe Laurent, 205. 
 
 Roldan, Luise, 178. 
 
 Roldan, Pedro, 178. 
 
 Rossellino, Antonio, 96. 
 
 Rossellino, Bernardo, 97. 
 
 Rossi, John Charles Felix, 228. 
 
 Roubiliac, Louis Fran9ois, 189. 
 
 Rude, Fran9ois, 255. 
 
 Rustici, Giovan-Francesco, 143. 
 
 Sangallo, Francesco da, 121. 
 
 Sansovino, Andrea, 119. 
 
 Sansovino (Jacopo Tatti), 145. 
 
 Santacroce, Girolamo, 153. 
 
 Schadow, Johann Gottfried, 230.
 
 GENERAL INDEX. 
 
 333 
 
 Schadow, Johann Rudolf, 256. 
 
 Scheemakers, Pieter, 188. 
 
 Schievelbeiii, Herman, 273. 
 
 Schliiter, Andrea, 186. 
 
 Schwanthaler, Ludwig Michael, 269. 
 
 Scopas, 28. 
 
 Settignano, Desiderio da, 95. 
 
 Spani (Prospero Clenieuti), 159. 
 
 Stevens. Alfred, 301. 
 
 Story. William Wetmore, 303. 
 
 Stoss, Veil, 104. 
 
 Tauriscus, 40. 
 
 Tatti, Jacopo (Sansovino), 145. 
 
 Thorvaldi'en, Bertel, 234. 
 
 Tieck, Christian Friedrich, 245. 
 
 Timarchus, 27. 
 
 Timotheus, 28. 
 
 Torrigiano, Pietro, 122. 
 Trebatti, Paolo Ponzio, 1G6. 
 Tribolo (Niccolo Pericolo), 121. 
 Van Cleves. Cornelius, 184. 
 Vela, Vincenzo, .'525. 
 Verocchio, Andrea, 101. 
 Vinci, Leonardo da, 110. 
 Vinci, Pierino da, 163. 
 Visclier, Hermann, 118. 
 Visclier, Johann, 118. 
 Vischer, Peter, 115. 
 Weeks, Henry, 298. 
 Westmacott, Richard, 268. 
 Westmacott, Sir Richard, 244. 
 Wilton, Joseph, 196. 
 Wyatt, Mathew Cotes, 252. 
 Wyatt, Richard J., 267.
 
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