[Mask from the statue referred to in note No. 308.]
308.Louis XIV.King of France.
[Born at St. Germain, 1638. Died 1715. Aged 77.]
The son of Louis XIII. and Anne of Austria. He ascended the throne at five years old—his mother being Regent during his minority—and reigned 72 years, longer than any other King of France. Until the death of Mazarin in 1661, Louis XIV. suffered the adroit Cardinal to rule. From that hour until his own death, no man governed but himself. This renowned monarch survived nearly the whole of his family, and when he died, the crown, as in his own case, came to the charge of a child—his great grandson—then in his fifth year. The reign of Louis Quatorze was singularly eventful within and without the realm. It embraced wars, marked now with splendid successes, and now with formidable reverses. He aimed at universal monarchy, and endangered his own. He sustained, in the War of the Succession, the defence of Spain and France against united Europe—a war in which the allies hoped to dismember France, that did not lose a province. Under this king, the soil of France was stained with the blood of her children in religious civil conflict; the most industrious and the best, slaughtered for their faith, or exiled. A magnificent Court surrounded his person—the centre to the politeness of Europe, its stately decorum veiling great moral corruption. Jealous of his prerogatives and of his supremacy amongst kings, Louis XIV. was still more jealous to be thought the best bred gentleman of his time. In this reign, the marine, the commerce, and the manufactures of France made a vast stride. Arts, letters, and science were royally encouraged. It is looked back upon as the Augustan age of French literature, when the writings of Corneille, Racine, Molière, and Boileau—of Masillon, Bossuet, Fénélon, seemed to have fixed the language. The age of Louis XIV. was the age of glory to the French monarchy; and splendidly dissolute, and, in many respects, hollow, as it may have been, we still revert to its records with a fascination that never palls, and an interest that becomes more acute the more it is gratified.
[This statue, representing Louis as a child, is from a bronze by Guillain, which formed, with a statue of Anne of Austria, and one of Louis XIII., a group of three, as a monument to commemorate the building of the Pont-au-Change, begun by Louis XIII. in 1639, and finished under Louis XIV., 1647, while Anne was Regent. The monument was destroyed in 1787; but the statues are in the Louvre, as well as the great bas-relief. The bust of Anne of Austria (No. 307*) is taken from the statue.]
308A.Louis XIV.King of France.
[From the marble, by Ch. Ant. Coysevox, in the Louvre and at Versailles. The King, kneeling on a cushion where his crown is placed, is dressed in the Royal mantle, with the Orders of the Holy Spirit and St. Michel. There are numbered no fewer than twenty-two busts, statues, and medallions of this favourite King at Versailles. Four are equestrian statues in bronze; one by Martin Bogaert, called Desjardins, and two by Louis Petitot, done in 1834. The statue in bronze by Desjardins, which once stood in the Place des Victoires, was destroyed in 1793. The four slaves which stood chained at the angles of this statue were alone preserved, and are now at the Hotel des Invalides, at Paris.]
309.Louis XV.King of France.
[Born at Versailles, 1710. Died there, 1774. Aged 64.]
He succeeded his great grandfather, Louis XIV., in the fifth year of his age. He was styled “the well beloved.” In his 34th year, on the field of Fontenoy, he gave proof of courage. Up to the prime of manhood, he gave equally satisfactory evidence of many good qualities of heart and head. But indolence and vicious habits, subsequently contracted, rendered the latter half of Louis’s reign one of the most disgraceful and profligate that France had witnessed. The shameless proceedings which had stained the career of his guardian, the Regent Orleans, were re-enacted in his own vicious Court. The disasters of France abroad during this degraded time, the destruction of her navy, the financial crisis that followed that catastrophe, the corruptions that were eating into the very heart of the State, and the immorality that characterized the higher classes, were the natural forerunners of the frightful storm that burst over France in the following reign. Louis XV., once “the well beloved,” died execrated by his subjects, who insulted his wretched remains, as they were passing to their last home.
309A.Louis XV.King of France.
[From the marble, in the Louvre, by Guillaume Couston the son, who died at Paris, 1777. The costume, in accordance with the fancy of the day, is that of a Roman general, as we see in the statue of King James II., of England, (No. 491). The King holds in his right hand a sceptre reversed, and with his left presents a baton of a Marshal of France. At Versailles, are several authentic busts of the time of this monarch, besides a copy of this statue, and an equestrian statue in bronze, by Bouchardon. The date of this work is about 1728.]
310.Marie Antoinette Joséphine Jeanne.Queen of France.
[Born at Vienna, 1755. Guillotined 1793. Aged 38.]
The unfortunate daughter of Francis I., Emperor of Germany, and the illustrious Maria Theresa of Austria. In 1770, before she was sixteen, married to Louis the Dauphin, who in 1774 became King of France, under the title of Louis XVI. At the breaking out of the French Revolution, every public disaster was laid to her charge by the maddened people, and after the execution of her husband, she was herself condemned to death. On her way to the scaffold, she was for two hours reviled by a ferocious mob; but resignation and sweetness of demeanour only could be traced on her countenance. Her hair had been turned silvery white by her many troubles, and a settled melancholy was stamped on her beautiful features. After her execution, her body was immediately consumed with quick lime. The murder of this unhappy lady was the most crimson spot in all the bloody time of the French Revolution. She was of a playful, happy, cheerful disposition, devoted to her family, benevolent to all. Her purity is beyond question, herheroism perfect. In mixing in public concerns, which she did not understand, she betrayed imprudence. In despising etiquette she laid herself open to the worst criticisms of her ungenerous foes; but her character shines unsullied after cruel persecution, horrible imprisonment, and ignominious death.
[From the marble in the Louvre by Lecomte.]
311.Napoleon Buonaparte.Emperor of France.
[Born at Ajaccio, in Corsica, 1768. Died at St. Helena, 1821. Aged 53.]
A soldier of fortune at the outset of his career. Lieutenant of Artillery, 1785. First Consul of France, 1799. Emperor of France in 1804, when he was but 36 years of age. Discrowned exile, and prisoner, 1815. The military prodigy of his age. His story reads like a romance of eastern enchantment; for he made and unmade kings at his will, and confounding all the established conceptions and expectations of men, asserted and won his right to fix for a time the destinies of nations. His extreme hour of greatness was in 1813, after the fearful retreat from Russia, when in a few months he summoned a new army to his side from the fields of exhausted France, and alone defied, and almost overcame, the united strength of the rest of civilized Europe. The most ignoble period of his life is found on the barren rock of St. Helena, when, treacherous to his former grandeur, he was afflicted and absorbed by the worthless and passing annoyances of the moment. His career was that of a dazzling meteor, astonishing all men in its fiery passage, but creating little else than amazement, and admiration mingled with fear. Not naturally cruel, he enacted cruelties. Brave in the field, he lacked the true heroic element. He used all men for his own advancement, and counted human life valueless, when its sacrifice might add to his imagined glory. Superstitious, but not religious. Framed for intensest exertion, indefatigable, impatient, irritable, untruthful, theatrical, petty. Yet a grand lawgiver; cognisant of the wants of men, and capable of meeting them, had his lust of ambition suffered him to provide for the interests of his people as sedulously as for his own. His character, a singular conflict of great virtues with small vices, and of great vices with small virtues. The most splendid soldier since the days of Julius Cæsar, and the idol of his army. The uncle of Napoleon III., the present Emperor of France.
[From the marble in the Louvre by Houdon.]
311A.Napoleon Buonaparte.Emperor of France.
[The colossal bust by Canova.]
311B.Napoleon Buonaparte.Emperor of France.
[An ideal bust by Thorwaldsen, supported on the French eagle with palm branches.]
311C.Napoleon Buonaparte.Emperor of France.
312.Louis Philippe.King of the French.
[Born in Paris, 1773. Died at Claremont, in England, 1850. Aged 77.]
A monarch who ascended the throne of France on the neck of one Revolution, and was hurled from it by the heel of another. A king who had borne adversity bravely in his youth, yet was unequal to sustain prosperity in his age. The most remarkable example of the proverb that “a Bourbon learns nothing, and forgets nothing.” If any Bourbon could prove an exception to the rule, Louis Philippe must have been the man. He had great sagacity;he had mixed for many years with all ranks and conditions of men. He had acutely felt the want of the means of living. He had been forced to earn his own bread by humble day labour. He had travelled in America, resided in England, had read much, observed more. Yet in 1848, after a reign of 18 years, he conducted himself towards the French nation with a blind obstinacy and wilful disregard of consequences, worthy of a sovereign who had been suckled in the lap of despotism, and fed for ever afterwards upon obsequious flattery, and all the other dainty diet of a Court. Louis Philippe had many good qualities of heart. He was beloved by his wife and children, and was a true hero at the domestic hearth. He had also a shrewd, active, well-informed mind. Nor did he act without a principle in his dealing with his subjects. But unfortunately his love for his family led him into foolish schemes for their advancement, his shrewdness overreached itself, and his principle of action was based upon a fallacy. He imagined that he could satisfy his people with the very husk and rind of constitutional government, and flatter them with the conviction that they were chewing and enjoying the kernel. Corruption was hardly greater in the days of the Regency, than towards the untimely close of the reign of Louis Philippe, but the rottenness under the later Orleans was veiled beneath forms demanded by the spirit of the age, and conceded by the King in a spirit of mock complaisance and quiet irony. Few men have had greater opportunity than the King of the Barricades. None have so desperately disappointed hope and baffled expectation. The history of the House of Orleans is full of instruction for all who bear the name: but no chapter is so fraught with momentous interest to the living chief of the House as that which tells the extraordinary and calamitous history of Louis Philippe.
[From the Marble, by J. E. Jones, 1845.]
312*.Louis Napoleon.Emperor of France.
[Born 1808. Still living.]
The third Emperor of the name, and not the least remarkable of his extraordinary race. The opinions formed of the present Emperor of France from his earlier history, have all been belied by his subsequent career. He has been an exile, a prisoner, a wanderer, an outcast. When he has ceased to be an object of suspicion, it was only to become a subject for ridicule. Of all pretenders to thrones in Europe, he has been held the least likely to obtain, by any change of circumstances or overthrow of dynasties, supreme dominion. When kings, in their fear, have reckoned over the names of those from whom danger might be expected, and have exhausted the entire list by including all possible representatives of peril, Louis Napoleon has not been in the number. He lived for years in London, and on the 10th of April, 1848, when special constables were enrolled for the preservation of menaced order, he sallied forth with his neighbours, and performed street duty with the humblest. He was so poor in England, that his goods were sold to pay his debts. Yet at this hour the diadem binds his brow, and his foot is firmly planted upon the summit of power in tranquillized France, and we all pray Heaven in the interests of humanity, civilization, and peace, to maintain it there. Since the accession of Napoleon III., all his exertions have been directed to the development of the material resources of his country, and to the upholding of that good understanding amongst nations which is essential to the continuance of socialprosperity. Europe lies under great obligations to his sagacity, and England has cause to rejoice in his friendship. When he married, he called himself a “parvenu.” His wisdom, moderation, and good faith have attached him to the heart of public opinion more closely than though, upon an insincere brow, he had brought to his imperial throne the stamp of a hundred kings.
[From the marble by Barre, 1853.]
312A.Louis Napoleon.Emperor of France.
[From the marble by J. E. Jones.]
312**.Eugénie Marie Guzman.Empress of France.
[Born 1826. Still living.]
The wife of Napoleon III., before her marriage with whom she was Countess Montijo of Teba.
Line
Ludwig, King of Bavaria, first conceived the idea of raising a monument to the national glory of Germany. In the year 1807, he planned theWalhalla, a grand hall for the reception of the statues and portrait-busts of celebrated Germans, borrowing the title of the structure from the old Norse language, the name being that of the palace into which Odin, the Scandinavian Jupiter, received the souls of the slain heroes. The idea, however, remained undeveloped until the important part played by the soldiers of Germany in the final overthrow of Napoleon gave a new impulse to the great scheme of the king. In 1821, he entrusted his architect, Leo von Klenze, with the execution of his plan. But it was not until 1830 that the design was sufficiently matured for building; and, after the laying of the first stone, twelve years were occupied in consummating the work. The Walhalla was inaugurated October 18th, 1842.
The Walhalla stands in a commanding position on the banks of the Danube, close to the little town of Donaustauf, and not far from Regensburg. It is a noble building of the Doric order, resembling the Parthenon of ancient Greece, 230 feet long, 108 feet broad, and 64 feet high, having a colonnade on every side. It is based upon a massive structure of Cyclopean stone work formed into three terraces, and is approached by a grand flight of steps.
The pediments at each end are filled with marble statues byLudwig Schwanthaler. The south, pediment, looking over the river, contains an allegorical subject designed by Rauch, and sculptured by Schwanthaler. Germany is here as a female figure surrounded by young warriors, who represent the different States of Germany, presenting to her the chief fortresses under the form of young women. The north pediment is entirely by Schwanthaler. It represents the battle between Hermann and Varus.
The interior forms a noble highly-decorated hall in the Ionic style, with polished marble walls and painted mouldings, the floor being also richly inlaid with marbles. The hall is 168 feet long, 48 feet broad, and 53 feet high. The entablature is supported by 14 Caryatides, treated as Walkyren, the Chusers of Slaughter in the old Germanic mythology, each being 10 feet 9 inches high. They are modelled by Schwanthaler, and executed in marble by his pupils; the figures being painted in the manner supposed to have been practised by the Greeks: the hair is brown, the flesh ivory colour, the tunics are of violet colour, the upper drapery white with red and gilt edges, and the bearskins gilt. A frieze runs round the hall, on which is sculptured the history of the Germans, from their origin in the mountains of the Caucasus to their baptism by Bonifazio. This frieze is the work of Martin Wagner, a Bavarian sculptor, living at Rome, assisted by Schopf and Pettrich. It is in marble, and measures 3 feet 4 inches in height, by 292 feet long.
Six statues of Victory, larger than life, and sculptured by Rauch, are arrayed round the hall. Between these are placed the busts of the great men of Germany, in six groups, numbering, in all, 96. They begin, chronologically, with Arminius, who repelled the Romans, and King Harry I. (A.D.876-936), and come down to Blucher and Schwarzenberg. The Poets are represented from the medieval Minne and Meister-singers, down to Goethe and Schiller. All these busts are however modern works of art, the earliest dating from 1794.
The “Ruhmeshalle” (or “Hall of Fame”), at Munich, contains another collection of portrait-busts of celebrated Germans. This, like the Walhalla, was established by Ludwig, King of Bavaria, and built by the architect Klenze. It was commenced in 1843, and completed in 1853. It is well situated upon a hill which rises from a flat of some extent near Munich, called after the Queen of Louis, “die Theresen-Wiese.” It is in the Doric style of Greek architecture, 230 feet long, by 150 feet broad, and 60 feet high, and is surrounded by 48 columns, 24 feet in height. Within the 92 metopes are 44 figures of Victory, and 48 representations of theprincipal events in the progress of Bavaria, designed and executed by Schwanthaler. The pediments also are ornamented with statues in marble by the same artist, personifying the provinces of the present kingdom of Bavaria. The statue of Bavaria, a cast from the head of which is in the Crystal Palace (See No. 205 of the Handbook of Modern Sculpture), stands in front of the building.
Some of the German portraits enumerated in the following pages are copies from portraits in both collections above referred to. There are also some portrait-busts of which the originals exist in the “Royal Museum,” and in the “Lager-Haus” at Berlin.
(The German Portraits begin immediately behind the Statue of Sir Robert Peel at the south-west angle of the Great Transept and Nave.)
313.Peter Paul Rubens.Painter.
[Born at Cologne, in Germany, 1577. Died at Antwerp, in Flanders, 1640. Aged 63.]
One of the most prolific and famous painters; not of the Flemish school only, but of the world. His life as untroubled as his genius was grand. Crowned heads courted him, wealth followed him, and until immediately before his death he knew not the sorrow of sickness. He passed happily through life, multiplying with astonishing rapidity those marvellous pictures which have associated his name for ever with the idea of glorious colour. He left paintings in France and in Spain, and both countries vied with each other in loading the great artist with well merited honours. He came to England in the reign of Charles I. as Envoy from the Spanish court, and in England fresh dignities awaited him. As a painter, he is memorable for the harmony, beauty, and mellow richness of his colouring, which flings a surpassing charm over every one of his productions. His men are always powerfully drawn and characterized with wonderful variety; but for the graceful and ideal representation of the more delicate sex, we have only the coarse type of his countrywomen. His portraits are fresh, vigorous, and carefully executed. His most celebrated work,The Descent from the Cross, at Antwerp, is a wonderful creation, both for expression and feeling. In landscapes, Rubens was also most happy. In all his works there is a luxuriance of life and vigour and passionate expression. In person he was tall, majestic, and extremely handsome; in temperament energetic and enthusiastic; in his manner of living plain and moderate; in his dealings with his brother artists, gentle and munificent as a prince. Amongst his pupils he reckoned Vandyke, Teniers the younger, Jordaens, and Sneyders.
[For a description of this noble statue, see No. 107, Handbook of Modern Sculpture.]
314.Georg Friedrich Handel.Musical Composer.
[Born at Halle, in Saxony, 1684. Died 1759. Aged 75.]
This magnificent musician, the dominant characteristics of whose geniusare grandeur, spirituality, and solemnity, was the son of a surgeon. Having in his youth displayed a passionate love for music, and having travelled much with the view of gaining instruction in Germany and Italy, he went to London, at the age of twenty-six, and there composed, by order of Queen Anne, the “Te Deum” and “Jubilate,” which, in 1714, were performed at St. Paul’s. Subsequently became Director of the Opera, in the Haymarket, for the production of his own works: a large subscription, headed by George I., enabling him to open the theatre. The scheme falling to the ground, in consequence of the quarrels of the singers, Handel abandoned the stage, and devoted his powers to the production of those sublime oratorios that have immortalized his name. In 1740, he composed “Saul;” in 1741, “The Messiah;” the last a three weeks’ work. Other great oratorios followed. In 1750, he lost his sight, and from that time until his death he gradually declined. He was buried with great pomp in Westminster Abbey. This mighty musician was infirm of temper, and imperfectly educated. When roused, he was violent and ungovernable. A singer once refused to sing one of his airs. Handel, seizing the man in his arms, and pale with rage, threatened to throw him out of the window if he persisted in the refusal. His countenance wore a rough expression, though he was good-natured when not agitated. He stands at the head of the greatest masters of music; and, as a performer on the organ, he was without a rival.
[In the Musical Collection of the Royal Library at Berlin. The artist is not known, but it bears many evidences of being a truthful portrait, and is altogether a more characteristic head than the conventional portrait by Roubiliac No. 314A.]
314A.Georg Friedrich Handel.Musical Composer.
[From the marble by Roubiliac.]
315.Johan Joachim Winckelmann.Antiquary.
[Born at Steindal, in Germany, 1717. Died at Trieste, in Austria, 1768. Aged 51.]
The son of a shoemaker, and self-educated. At thirty became a Roman Catholic, and journeyed to Rome, where he studied the antique, and published his celebrated. “History of Art.” At Trieste he was murdered by a felon, for the sake of the medals conferred upon him by the Courts of Austria and Bavaria. His investigations into the true principles and significance of high art, more especially of antique sculpture, led the way to the enlightened criticism of Lessing and Goethe.
[By Doel. It was placed in the Capitoline Museum at Rome, by Geo. F. Reiffenstein.]
315*.Anthony Raphael Mengs.Painter.
[Born at Aussig, in Bohemia, 1728. Died at Rome, 1771. Aged 43.]
Surnamed, but without much reason, the Rafaelle of Germany. He studied assiduously at the Vatican. Upon his return to Germany he was appointed at Dresden painter to the King. Revisiting Rome he fell in love with a beautiful peasant girl, and became a Roman Catholic in order to marry her. In 1757, he commenced painting in fresco, and his works of this kind will bear comparison with some of the best of the Italian masters. In 1761, he was invited by Charles III. to Spain, where he painted for the palace at Madrid, the “Apotheosis of Trajan.” This is hischef d’œuvre. He died leaving scarcely sufficient to pay his funeral expenses, and the King of Spain provided for his sevenchildren. The works of Mengs display correctness of drawing, vigour of colouring, finished execution, and studied grace: but the loftier qualities of mind, demanded by historical painting, are wanting. He was a writer on art as well as an artist: and a generous, warm-hearted man.
[Bust to come.]
316.Franz Joseph Haydn.Musical Composer.
[Born in Rohrau, on the frontiers of Austria and Hungary, 1732. Died at Vienna, 1809. Aged 77.]
The son of very poor and humble parents, who cheered their poverty and supported their labour by home music. The family concerts constituted Haydn’s initiation into Art. He was a passionate neophyte. At the age of thirteen, he had composed a mass, which he was unable to write correctly. Taken into the service of the great master Porpora, he submitted to menial drudgery in order to have the advantage of his instruction. In 1760, he entered the better service of Prince Esterhazy, with whom, as Court Musician, he continued for the space of twenty-five years. During that period, some of his finest symphonies were produced. In 1791, he went, on invitation, to London, and continued there for thirteen years, sending forth his inimitable works, and receiving honour on every side. In 1794, he returned to Germany, established himself in the suburbs of Vienna, and composed the oratorio of “The Creation.” He died in 1809, from agitation, it is said, induced by the advance upon Vienna of the French army. Haydn is one of the greatest of modern musicians. He set free the spirit of instrumental music, and purified his art by the purity, simplicity, and beauty of his works. He is remarkable for lucid melody and for his power of effective painting. His labours were enormous and his compositions countless. He could himself reckon up to 800 works, large and small, and there he stopped.
317.Johann Wolfgang Mozart.Musical Composer.
[Born at Salzburg in Austria, 1756. Died at Vienna, 1791. Aged 35.]
The most renowned of German musical composers. His father was a musician, and he himself the greatest musical prodigy that ever lived. It is alleged upon authority that at four years old, he could already play and even compose. It is certain, that before he was eight a harvest was in reaping by his family, who travelled over Germany to exhibit his astounding performances. In 1764, he was in England playing before the King and Court. In 1769, he produced an opera, being then 13 years of age. At 15, he was in Italy, creating wonder by works which rivalled those of the great Italian masters. Medals were struck in honour of young Orpheus in the land of art and song. He was not 17 years old when he could count as his productions four operas, an oratorio, two masses, and many other compositions. Mozart grew in years, and did not suffer the ordinary penalty of precocity. In him “the child was father to the man.” The blossom became ripe fruit. In 1781, he produced his opera of “Idomeneo.” Then followed the “Marriage of Figaro,” and in 1787, his masterpiece “Don Giovanni”—a work composed in an incredibly short space of time. Now came sickness—and the threatening of a complaint allied too frequently to unnatural intellectual development. Symptoms of consumption gave rise to melancholy—melancholy to inordinate labour—inordinate labour to speedy death. Mozart had the grave already in sight when he composed his exquisite“Requiem.” This illustrious man was the founder of the school in which Beethoven was a faithful disciple. His fertility of creation, the rich luxurious beauty of his music, his purity and melody, can hardly be excelled. In all the relations of life Mozart was blameless. He had a generous soul, and we are pained to think so rare and so richly endowed a genius should at any period of his career have suffered anguish from poverty and distress.
318.Karl Friedrich Zelter.Musician.
[Born at Berlin, 1758. Died 1832. Aged 74.]
The son of a master mason, whose trade he followed. Forsaking masonry for music, he became the pupil of Fasch, at whose death he was appointed Director of the Royal Institute of Music, and Professor of music in the Academy of Fine Arts at Berlin. Zelter’s works are chiefly songs and compositions for men’s voices, without accompaniment. He also wrote on the theory of music. He will be chiefly remembered as the friend and correspondent of Goethe, and the early instructor of Mendelssohn.
[By Rauch, March, 1825. Modelled as a present from the sculptor to Goethe, the friend of Zelter. The Academy of Music had it executed in marble for their institution, Rauch again charging nothing for his services.]
319.Johann Gottfried Schadow.Sculptor.
[Born at Berlin, 1764. Died there, 1850. Aged 86.]
The son of a poor tailor. He evinced, at an early age, a great love for the fine arts, but he was one of many children, and there was small hope of gratifying fine-art tastes in the needy household. Fortune brought the youngster in contact with a sculptor, who taught him drawing, and from that moment his destiny was fixed. Whilst receiving instruction, he ran off with a girl to whom he was attached, married her at Vienna, and with the consent and at the expense of his stepfather, proceeded to Rome. There for two years he laboured hard as a sculptor, in the Vatican and in the Capitol. In 1788, he had already advanced far enough to be appointed Court Sculptor at Berlin. In 1822, he was made Director of the Academy of Fine Arts in the same city. His works, numerous and of a high order, are found in Berlin and elsewhere in Germany. He was one of the first who opposed to the insipid and conventional idealism of the eighteenth century, a vigorous and truthful representation of nature, heightened by noble intellectuality. This is especially visible in his portrait statues. He was a worthy precursor of Rauch, who is one of his most famous followers. To his eldest son, Rudolph Schadow, also a distinguished sculptor, belong the specimens of modern sculpture which appear under the name of Schadow in this collection. The second son, Wilhelm Schadow, is one of the most celebrated painters in Germany, and President of the Academy at Düsseldorf. Both have a greater name as artists than the father.
[By Rauch, 1811. Plaster. The original is in the studio of Rauch.]
320.Albert Bartholomäus Thorwaldsen.Sculptor.
[Born 1770. Died 1844. Aged 74.]
He was born, as he said, at Copenhagen: some say in Iceland: some at sea, between. His father, an Icelander, was employed in carving heads for ships in the Royal Dockyard, on which the great sculptor practised his young hand: his mother was a priest’s daughter. He was educated, as all the childrenof workmen, in theHolm, or dockyard, at the King’s expense. At 11, Thorwaldsen was a student at the Academy of Fine Arts in Copenhagen. At 17, he first secured attention, and gained the small silver medal; at 19, the large. At 21, he won the small, at 23, the large gold medal. His birthday he did not know, but he called it March 8th, the day of his arriving at Rome in 1796. In the Eternal City he addicted himself to the antique. He brought introductions to Zoega the Dane, then living at Rome, a learned and antiquarian connoisseur. Zoega dealt kindly and hardly with the young sculptor, severely criticizing his labours; and Thorwaldsen, under his critic’s censure, and from his own dissatisfaction, destroyed numerous attempts. His first “Jason with the Golden Fleece,” of the natural size, made no impression, and he broke it in pieces. He made it again, 81⁄2feet high. It secured general admiration, and this time he did not destroy his work. He had, however, made up his mind to go home; his small preparation was completed; Jason was to be sent after him; but a mistake in a passport created a day’s delay. During the short interval, Thomas Hope, a well-known name in England, entered the artist’s studio, and saw the “Jason.” The price was asked. “Six hundred zecchini.” “I will give eight hundred,” answered Thomas Hope. Thorwaldsen stopped in Rome, and now began and went on, his mightier career. His chief works are classical subjects—some Christian, to which he drew late in life. The most popular of all his productions is the bas-relief of “Priam and Achilles.” In 1819, he returned to Copenhagen, but not permanently until 1838. In Rome he was the friend of Canova, who acknowledged his merit. His health was often very weak, and he died suddenly at a theatre. He was simple in his manners, and beloved. In fire and grandeur he resembled Michael Angelo. The old Scandinavian energetic blood rolled in his veins. The family tradition made him descended from one of those early warrior-kings: a more glorious, innocent conqueror.
[By Rauch. Plaster. 1816. Done at Rome. A fine artist-like head. The original is in the studio of Rauch.]
321.Ludwig van Beethoven.Musical Composer.
[Born at Bonn, in Rhenish Prussia, 1770. Died at Vienna, 1827. Aged 57.]
This great composer was taught music from his childhood; but it was not until his twelfth year that he at all developed his genius. Sent to Vienna, he was placed there under the care of the Chapel-Master, Albrechtsberger, in spite of whose cold and conventional instruction he advanced in knowledge and strength, and excited general attention by his extraordinary gift of improvisation, and marvellous execution. In 1805, he composed “Fidelio;” then followed his oratorio of “Christ on the Mount of Olives,” the “Heroic” and “Pastoral” symphonies, and his pianoforte Concertos. At this time Beethoven had scarcely the means of subsistence, and to save him from want, a pension of four thousand florins was settled upon him by the Austrian government. He fixed his abode at the village of Baden, near Vienna, and his life became one of retirement and self-nurture. He composed his music in his solitary rambles. The wildest scenery to him was the choicest, for he shrank from intercourse with men. His habits were known and respected. He died unmarried. From his twenty-sixth year he had been deaf; but he was otherwise robust. He was passionately fond of Scott’s romances, and these works, with the “Odyssey” of Homer, were his consolations during the illness of which he died. His fertility and varietyof production are marvellous. The passionate soul of melody possessed him. His works are rich in harmony, tinctured it may be with the delicate mysticism that ruled his genius in its silent haunts.
[By Ernst Hähnel, of Dresden. Plaster. 1847. In the possession of the artist, who executed the large statue of Beethoven in bronze, which stands in the Place at Bonn. This was the study from the life, for the head of the statue.]
321*.Ferdinando Paer.Musical Composer.
[Born at Parma, in Italy, 1771. Died 1839. Aged 68.]
At sixteen, Paer began to write for the stage. Before he was twenty-six he had already produced twenty-two operas, all in the conventional style of the old Italian operas, and after the manner of Cimarosa and Paisiello. After 1797, a laudable change is remarked in his style—more force in the harmonies, more variety in the modulations, with richer and more effective instrumentation. In 1801, appointed by the Elector of Saxony Chapel-Master in Dresden, and, favoured by the repose afforded here, Paer still improved his style. In 1806, Dresden was taken by the French. The musician transferred his services to Napoleon, and accompanied his new master to Paris. In 1810, revisited his native city, and there composed his master-piece, the opera of Agnèse. His subsequent career is remarkable for little more than for petty intrigues against rival composers, and—after his appointment as Director of the Italian Opera in Paris in 1812—for miserable squabbles with actors and musicians. He ceased to be an artist, and condescended to become a mere courtier and “homme de salon.” His death was accelerated by long-continued habits of intemperance. Paer was gifted with great fluency, and his works have brilliancy and spirit; but he is without originality, force, and dramatic power.
[Bust to come.]
322.Christian Friedrich Tieck.Sculptor.
[Born 1776. Died at Berlin, 1850. Aged 74.]
Of the school of Schadow. Brother to the celebrated poet and critic, and the friend of Rauch, with whom he was engaged in illustrating in sculpture the glories of the late war. His productions are in various parts of Germany, and are held in high estimation. He is the sculptor of the statue of Frederic William at Ruppen, and of the front gate of the cathedral at Berlin.
[By Rauch. Marble. 1825. Given by Rauch to his friend Tieck, and now in the possession of his widow.]
323.Christian Rauch.Sculptor.
[Born 1777. Still living.]
The leading German sculptor of his day—endowed with great imaginative powers, and excelling in portraits, which, under his treatment, exhibit truth and nature, intimately associated with poetic elevation. In 1804, he took his way from Berlin to Rome, and presently secured the friendship of Thorwaldsen, whose love for the antique greatly influenced and directed his taste. Whilst at Rome he executed “Mars and Venus wounded by Diomedes,” a colossal bust of the King of Prussia, and other celebrated works. In 1811, invited by the King of Prussia to Berlin, he produced many colossal statues and countless busts. His colossal “Victories,” for theWalhalla, and the equestrian monument of Frederic the Great, are well known efforts of his genius. A great artist—competent to express vigorously, truthfully, and naturally, historical rather than ideal conception.
[By F. Tieck. Plaster. 1825. Modelled, to be given to his friend Rauch, but the marble bust not finished. From Lager-Haus.]
324.Karl Friedrich Schinkel.Architect and Painter.
[Born at Neuruppin, in Germany, 1781. Died at Berlin, 1841. Aged 60.]
Styled by his countrymen the Luther of architecture. Employed by the King of Prussia to erect those structures in his capital which have stamped a new character on Berlin, and endowed it with high architectural claims. He gave a new impulse to his art, both by his influence and his example, and was besides a generous and amiable man.
[By F. Tieck, 1819. The marble bust is in the Berlin Museum. A copy in bronze is on the staircase of the Royal Theatre, Berlin.]
325.Leo von Klenze.Architect.
[Born at Hildesheim, in Hanover, 1784. Still living.]
The architect, in Munich, of “The Glyptothek,” and the constructor of many works, Royal and otherwise, in the same city. Also the designer of the plans for the “Walhalla.” Author of some literary productions bearing upon his art. In 1844, accompanied Ludwig I. to Greece to examine the plans already made for the improvement of Athens, and to suggest original designs. Klenze possesses great decorative skill, and a comprehensive knowledge of the history of architecture; but the true genius and high faculty of composition appears on few of his productions. He does not take what is universal in the various styles with which his mind is familiar, in order to form a style expressive of his own spirit, and suitable to the country and climate in which it is his business to exhibit it, but he borrows his structures from Greece and Italy, and deposits them in Munich, loading the city with specimens of foreign styles of architecture. His effects are undoubtedly picturesque, and the decorations of his buildings always beautiful, but fault is found with the internal arrangements of his edifices, with the lowness of the apartments, and with the bases of his façades, which are occasionally mean and even vulgar.
[By J. Halbig. Plaster. 1846. Executed for King Ludwig.]
326.Peter Cornelius.Painter.
[Born at Düsseldorf, in Prussia, 1787. Still living.]
A renowned painter of the later German school. He studied under Langer, a disciple of the old school, who made enormous efforts to suppress the romantic tendencies of his pupil, to check his imagination, and to restrain his boldness. By a visit to Italy, however, Cornelius confirmed the bent of his genius, and rendered the good intentions of Herr Langer of no avail. His indomitable perseverance, hard study, and rare gifts, soon enabled him to outstrip all rivalry. Whilst still young he was invited to direct at Düsseldorf the School of Painting, which has proved itself one of the most careful and successful nursing-mothers of Art in Germany. In 1819, engaged by the King of Bavaria to decorate the Museum of Sculpture then constructing at Munich. The subjects painted by Cornelius in fresco for this Museum from the heroic myths of Homer and Hesiod, are conceived with a rich imagination, and executed with superior power. His cartoons illustrating the old “Nibelungen-Lied,” and the “Faust” of Goethe, are equally remarkable. In 1825, appointed Director of the Academy of Painting at Munich. In 1841, summoned to Berlin by the King of Prussia, for whom Cornelius designed the “Shield of Faith,” presented by his Majesty to his godson, the Prince of Wales. Cornelius paints with the passionate sensibility and delicate perception of a true poet. His copious imagination is never at fault, and his ability to produce is as striking as his faculty of conception. Yet he never oversteps the modesty of nature, or the confines of true art. He is the worthy leader of a daily increasing school in Germany, which attempts, and not unsuccessfully, to unite in art earnestness of thought, activity, boldness, and freedom.
[By E. Hähnel. Plaster. 1852. In the possession of the artist. This was the study for the head of the large statue of Cornelius which Hähnel was commissioned to execute for the new museum at Dresden, and which stands on the outside, amongst the artists of Germany.]
327.Christoph Gluck.Musician.
[Born in the early part of the 18th century. Died at Vienna, 1787.]
The great merit of Gluck is that he emancipated music from the trammels of conventionalism and false taste, and made it the exponent and minister of poetry and the drama. Gluck, invited to London in 1745 to celebrate in music the butcheries of the Duke of Cumberland, found that the operas represented there were mere concerts, for which the drama was a pretext. Sound was everything, meaning nothing. His own music was set to words with which it had no connexion, and, torn from its original context, lost all its effect. This fact led him to the discovery of the great principle which is the key to the rest of his life: viz., that music is not merely a pleasant arrangement of sounds intended to gratify the ear, but a subsidiary language, able to exalt and strengthen the emotions, raised by the measure and force of the spoken language to which it is allied. In 1761, he composed his opera of “Alceste,” as an illustration of his idea. It was followed in 1762 and 1763 by “Paris and Helena” and “Orpheus.” In 1779, he composed the “Iphigenia in Tauride,” the greatest of his works. Wieland has happily expressed Gluck’s claim upon our respect in a sentence. “He preferred,” he says, “the Muses to the Syrens.” His works are not so much operas, in the ordinary sense of the term, as poems, in which music is employed for producing and sustaining emotion. Off the stage Gluck was nothing, but upon it the musician was himself a poet. The manners of Gluck, like those of Beethoven and Handel, were rough and blunt. He was large in person; and his habits were indolent and somewhat sensual. The bust discloses the man.
[From the Terracotta, by Houdon. In the musical collection of the Royal Library at Berlin. The only bust taken from the life.]
327A.Christoph Gluck.Musician.
[From the Terracotta by Houdon, in the Louvre.]
327B.Christoph Gluck.Musician.
[From the bust by Francin (Fils) in the Louvre.]
327C.Christoph Gluck.Musician.
[From a bust by R. Wagner of Berlin.]
328.Friedrich Gärtner.Architect.
[Born 1792. Died 1847. Aged 55.]
The chief architect in Munich since the withdrawal of Klenze. His most important work is the new Library in that city, which is remarkable for the simple magnificence of its façade. He designed the Palace of King Otho at Athens, and he re-opened the quarries of Pentelicus, which had not been employed since the days of Hadrian. Upon the departure of Cornelius from Munich, Gärtner received the appointment of Director of the Royal Academy of Fine Arts.
[By Johann Halbig.]
329.Julius Schnorr.Painter.
[Born at Leipzig, in Saxony, 1794. Still living.]
First studied under his father, who was Director of the Academy at Leipzig. In 1811, went to Vienna to get instruction there; but found little to gratify his taste, or to encourage his genius. In 1817, travelled into Italy, and there made the acquaintance of Ludwig, then Crown Prince of Bavaria. At Rome worked at the Villa Massimi, where Cornelius was also employed, and where he produced in the space of five years his eleven frescos from the Orlando Furioso of Ariosto. Called to Munich in 1827, he received there the appointment of Professor of Historical Painting in the Academy, and painted for the King of Bavaria his admirable frescos illustrating “The Nibelungen-Lied.” In 1846, accepted an invitation to Dresden. Schnorr is chiefly known to us by his beautiful illustrations of the Bible. Amongst all the fresco painters of Munich he stands unrivalled for combining individual life with ideal composition.
[From the plaster model by Ernst Rietschel, dated 1848. In the possession of the sculptor.]
330.Ludovic Schwanthaler.Sculptor.
[Born at Munich, in Bavaria, 1802. Died there, 1848. Aged 46.]
Most of his numerous and admirable works adorn his native city. His masterpiece is the colossal statue of Bavaria, cast in bronze, 54 feet high. The noble head of this figure forms a remarkable object in our Court of German and English Sculpture. Before its inauguration the artist had died, having been an invalid for the last fifteen years of his life. Many casts from the works of Schwanthaler may be found in the Court of Modern German Sculpture. He had the advantage of being an excellent classical scholar, and was besides a warm-hearted, unassuming man, simple in his manners, full of wit and humour, and a true friend. As an artist he had a fine classic feeling, great spirit and fire, a strong imagination, a vigorous and creative genius.
[By Xavier Schwanthaler. Marble, 1849. The original is in the “Ruhmeshalle” (Hall of Fame), at Munich. It was modelled from the life in 1837.]
331.Felix Mendelssohn-Bartholdy.Musician.
[Born at Berlin 1809. Died at Leipzig 1847. Aged 38.]
The grandson of the Jewish philosopher, Moses Mendelssohn, and the son of an eminent banker. Like Mozart he exhibited an astonishing precocity. In his twentieth year he was already a musical composer of great originality. Then setting out on his travels, he visited London, Paris, and various parts of Italy. In 1834, appointed Chapel-Master atDüsseldorf. In that city he produced, when 27 years old, his oratorio of “St. Paul.” It won the success it merited. In 1839, he composed his “Lobgesang,” or “Hymn of Praise,” by many regarded as his masterpiece. In 1846, his marvellous oratorio of “Elijah” was produced at Birmingham. From this period his mental activity was prodigious, and his production ceaseless. He died, literally consumed by the fire within him. He was a great man. His faculties, of the highest order, were engaged in the advancement of the purest art. His manner was unaffected, his heart warm and affectionate. He loved England. His earliest works indicate his genius; his latest compositions are tinged with a deeper, and more solemn hue—but all he did was beautiful—like his mind.
[By E. Rietschel. Marble. 1848. In the possession of Alexander Mendelssohn, the banker, of Berlin, for whom it was executed.]
332.Johann Halbig.Sculptor.
[Still living.]
An excellent German sculptor, who studied under Schwanthaler, at Munich. The grand colossal figure of Franken (Franconia), in the German Court of Modern Sculpture (No. 173), is by this artist.
[Modelled by himself. 1850. A commission from King Ludwig.]
333.Moritz von Schwind.Painter.
[Born at Vienna, 1804. Still living.]
Studied under Ludwig Schnorr; then under Cornelius. Since the year 1828, has been employed in decorating with frescos the Palace of the King of Bavaria, at Munich, and the Palace of the Grand Duke of Baden, at Carlsruhe. His compositions from the classical mythology, and from the modern poets, particularly from Tieck and Goethe, are amongst the finest things which have been produced in modern times.
[From a medallion by Ernst Rietschel.]
333*.Edward Devrient.Player.
[Born 1801. Still living.]
One of a family remarkable, like that of the Kembles in England, for dramatic genius. His uncle was a famous actor of his time; his elder brother is a player of repute in Hanover, and his younger brother, Emile (born in 1803) is known in England, as one of the best representatives of Hamlet at the present day. Edward is rather a studious and careful artist, than a man of genius. He is also an author of ability, his dramatic works having obtained considerable favour.
[From a medallion by Ernst Rietschel, dated 1852. In the possession of the sculptor.]
334.Friedrich Gottlieb Klopstock.Epic and Lyric Poet.
[Born at Quedlinburg, in Prussian Saxony, 1724. Died at Hamburgh, 1803. Aged 79.]
Goethe said well of Klopstock, that to him German literature owed a debt of gratitude, for he was in advance of his time, although he lived long enough for his time to be in advance of him. He is the classical epic poetof Germany, as Milton of England, but with a difference. Milton was nurtured on the overflowing bosom of English poesy. Klopstock had imbibed no such strength at a native fount. The sublime utterance of the one still reverberates through a world that is still the wiser and the better for the heavenly strain. The sonorous rhapsodies of the other already weary the ear of the land on which they originally fell with weight and power. Few were the admirers of England’s blind poet when he sang “of Man’s first disobedience.” To-day they are countless. When Klopstock published the first part of “The Messiah,” Germany was enthusiastic. The learned were at his feet, kings craved his companionship, and the people worshipped a prophet. To-day, a young German critic has the hardihood to say—without being stoned for his heresy—that Klopstock’s poems are like nothing so much as translations from some unknown author, by an erudite but somewhat unpoetical philologist. With the early admiration for the poet, was mingled awe for the sanctity with which his subject had enveloped his person. He became in a nation, what Pollock, the author of “The Course of Time,” has been amongst a class. If he is now taken down from his undue eminence, his just claims to respect must not be disregarded. If Luther constituted an epoch in the moral and intellectual emancipation of his country, Klopstock marked an era in the progress of her poesy. Both names are landmarks, in the history of the language, as cultivated in the service of letters. The latter was, also, a pioneer and a reformer. His odes are striking and lofty; his learning extensive; his piety fervent; and his poetic sensibility profound. The thirst of communing with the soul of his native Germany—since, a widely-possessing enthusiasm—announced itself as a literary virtue, first in Klopstock’s writings. It spoke in the selection of some of his themes: but was chiefly operative in his profound and enamoured study of the language which begins, in his verse, to discover and lavish exuberant wealth.
[By Dannecker.]
335.Gotthold Ephraim Lessing.Man of Letters.
[Born at Camentz, in Saxony, 1729. Died at Brunswick, 1781. Aged 52.]
A philosopher and a poet, but more of an investigator than of a creator. Nevertheless, a strong renovator. He is named by Germany of to-day with gratitude, amongst those who loosened the old chains of imitation from her literature, and summoned her to think and to write, self-conscious, from her own deep and powerful spirit. Powerlessly enough, her drama, till his time, was borrowed from that of a people, geographically divided from her by a river—intellectually, her antipodes. Lessing showed her, in place of Corneille and Racine, a foreigner, in whose kindred veins her own blood ran; and called her to Nature and to herself, in calling her toShakspeare. Lessing was a critic in plastic art; witness his “Laocoon.” He was a fabulist of great invention, fancy, and humour: witness his “Fables,” which may take rank with those of Æsop. He was a dramatist of skill, power, and pathos: witness his “Nathan the Wise,” and his “Emilia Galotti.” Above all, he was an independent thinker; and a style clear, precise, and masterly, runs through all his writings. He is one of those now elder classics through whom the language of the country has risen into literary rank and service.
[By Ernst Rietschel. Bronze. 1849. Erected by subscription at Brunswick. For further account of this statue, see Handbook to Modern Sculpture. No. 200.]
336.Christoph Wieland.Poet.
[Born in Suabia, 1733. Died 1813. Aged 80.]
An exquisite artist in words, herein resembling though more enchanting than, Lessing, whose contemporary he was. He might seem to be a transitionist; softening the passage from the imitative French school in Germany, to the pure German. Or you may suspect that the foreign element is not French, but Italian, if modern,—or Attic, if ancient. For he was a student of classic antiquity, and a lightness of grace, and a mobile sensibility to the beautiful, which are not German, reign over his numerous writings in prose and verse. Some of his works are direct imitations from the Greek—as his Dialogues after Lucian. His elaborate philosophical romance, “Agathon,” lays the scene in old Greece. But his gift is an unrivalled ease in the flow of his narrative verse—lively or serious—made alluring by perpetual representation to the eye; and roving with predilection amidst romantic scenes and adventures. His poem of “Oberon” is a masterpiece in this kind. He seems to have prepared for it in studying Ariosto, but engrafting upon the Italian style the more picturesque of his own northern and later poetry. The qualities missed in this rich, enticing, and luxurious word-painter, are profound passion, intellectual might, and the more solemn contemplation of the universe, natural and spiritual. Wieland was a scholar: you feel the influence of his reading at every step; but the springs in his own bosom well freely.
[The original marble, by Schadow, is the property of Henry Crabbe Robinson, Esq. of London. Flaxman declared it “a perfect work, never surpassed by any artist, living or dead.” When Mr. Robinson visited Goethe at Weimar, and informed him that he possessed this bust, Goethe related the circumstances under which it had been lost to Germany, and added: “You have made me as happy as though I had recovered a lost child.” Mr. Robinson promised Goethe to bequeath the bust to the Public Library at Weimar, where Wieland had lived for many years. One cast has been allowed to be taken for the Crystal Palace; and the mould has been destroyed.]
337.Johann Wolfgang von Goethe.Poet.
[Born at Frankfort-on-the-Main, in Germany, 1749. Died at Weimar, in Germany, 1832. Aged 83.]
For comprehensiveness and grasp of thought, for profound knowledge of human life and dealings, for intellectual prowess, for intimate acquaintance with various and opposing arts and sciences, Goethe stands alone in Europe throughout the period which he elevated by his presence and swayed by his achievements. He was a great poet, an excellent dramatist, a fine novelist, a skilled naturalist; with chemistry, botany, and anatomy he was familiar. In truth, it is not easy to limit the immense domain through which his giant mind ranged at its will, conquering and acquiring wherever it touched. His productions are voluminous, corresponding to the wealth of his overflowing brain. His “Faust” predominates far above his other works in popular impression. It is the one in which he seems the most resolutely to have committed himself to his subject. Wild, audacious, lying as this does desperately out of the Real and the Possible, he throws himself into his enterprise, doing it justice, with all his gathered might. We have a feeling persuasion of this having been his own favorite work, to which he most confided, with love, the intimacies of his genius. The recognition of Faust, as a high work of art, must, however, be restrained to the first part. In the second the poet seems as though self-bewitched. Certainly, Germany never has possessed soconsummate a master, in art, of her words. His lyrics are gems of music. They have thefeltcharm of grace, rather than demonstrable worth. In the verse of Schiller it is the other way. Ask of his Germany what constitutes the all-extolled merit of Goethe, and you will hear for answer:—“He is the great world-sage.” But some of the elements of true wisdom he unquestionably lacked. Admit all his strength, his knowledge, his skill, his intuition, and you still miss the heart lodged by Mother Nature in the bosoms of Homer, of Shakspeare, of the compatriot and contemporary Schiller; which, warm and large, embraced with loving and devout sympathy all that is great and high in the souls of men. You desire, in many of his personages, the beating pulses of simple, natural, human affection; the exuberance of genial and generous passion;—in himself, the possessing and tyrannizing enthusiasm, proper to the vowed follower of the Muse. Hisjudgmentsof the world show distinguished capacity, but hispicturesare not generic representations of Man, either as reality gives him in experience to every one of us, or as poesy would select him. Goethe promulgated speculations on plants and colours that have been received into science. He made other speculations during his mighty and protracted career, which passed into the spirit of more than one generation, to influence, guide, advance, fashion, and direct it.
[By Alexander Frippel, 1789. Modelled from the life when Goethe was in his prime. It was done at Rome, by order of the Prince Waldeck, in whose castle at Aroldsen the original exists. Goethe at that time allowed his hair to grow in all its natural luxuriance. “I remember him well,” says a distinguished friend and countryman of his; “he was then as handsome as Apollo.”]
337A.Johann Wolfgang von Goethe.Poet.
[This bust is by Rauch, from the marble, dated 1820. It was a commission from the Grand Duke of Saxe Weimar, and occupies its place in his palace.]
337B.Johann Wolfgang von Goethe.Poet.
[This bust is from the colossal statue, the work of Steinhauser, executed by order of the Grand Duchess of Saxe Weimar.]
338.Friedrich Christoph von Schiller.Poet.
[Born at Marbach, in Germany, 1759. Died at Weimar, 1805. Aged 46.]
According to the Germans, Schiller stands second in the list of their great poets, Goethe being the first; but in the esteem of the rest of the world, Schiller is pre-eminently the greatest of German poets. In universality, breadth and power, his genius yields to that of his illustrious rival; but in delicacy of perception, refinement of feeling, intense sympathy with the passions he represents, exquisite purity of thought and diction, and in the treatment of ideal beauty, he is without a competitor in his own country. His manifest delight in the delineation of pure and generous characters is not the least grateful of his excellences. His poetry is the bright intellectual reflexion of his own chastened spirit, as the writings of Goethe constitute the masculine and mighty expression of his essentially sensual nature. The German stage was formed by Schiller, whose later tragedies gave to the drama of his country a rank that it had never held before. At the outset of his career Schiller studied law, then medicine; and whilst his own tastes would have led him to the pastoral office, he found himself, at the age of 30, appointed to the Chair of History at Jena. His acknowledged greatest work is the tragedy of “Wallenstein.” He died of consumption, and was buried with public honours. He conferred dignity upon the literature of hiscountry, and helped, more than any other man of his time, to bring it abreast of the poetry of other nations; but the originality, beauty, and force of his productions are not more worthy of contemplation, than the aspiring grandeur and nobility of his moral character. He was the friend and pupil of Goethe. The teacher was the more consummate artist, the disciple was the purer man. Schiller exalts our idea of humanity, Goethe lowers it.
[By Dannecker. Marble. 1805. The original was bequeathed by the artist to King William of Würtemberg, who presented it to the Museum at Stuttgart.]
338A.Friedrich Christoph von Schiller.Poet.
[This colossal bust was executed by order of King Louis of Bavaria for the Walhalla.]
339.Ludwig Tieck.Author.
[Born at Berlin, 1773. Recently deceased.]
A writer in literature and art, who has exercised a sensible influence upon the minds of contemporary authors. His narratives reveal a powerful imagination and a profound sense of the beautiful. In his “Zerbino” he exhibited his ideas on general æsthetics. A visit to England in 1818 inspired him with the idea of translating the plays of Shakspeare, and he undertook this labour in conjunction with W. Schlegel. The translation is perhaps the best that has ever been made in any language of our great poet. At the early period of his literary career, Tieck delighted in the marvellous and fantastic. In 1820, his genius took a new direction, and built upon an historical foundation, and upon observation of actual life. The present King of Prussia charged Tieck with the direction of the theatre at Berlin, and conferred upon him a pension. Many of his works have been translated into English—two by Bishop Thirlwall.
[By F. Tieck. Plaster. 1836. In the Lager-Haus. The original model was done at Dresden.]
340.Berthold Auerbach.Poet and Novelist.
[Born 1812. Still living.]
Of Jewish parents, and originally intended for theological pursuits. Completing his education in 1832, he abandoned Rabbinical lore for the study of history, philosophy, and general literature. In 1841, he published a life of Spinosa, to whose doctrines he was deeply attached, and a translation of that philosopher’s complete writings. In 1843, he produced a much more popular and generally interesting work, “Village Histories of the Black Forest,” which has been translated into English, Dutch, and Swedish. Since 1845, Auerbach has resided either at Weimar or Leipzig. He is zealous in the cause of popular education, and, during the commotions of 1848, took part with the moderate democrats.
[By Ernst Rietschel. Medallion. 1847. In the possession of the sculptor.]
341.Johann Gutenberg.Inventor of Printing.
[Born at Mayence, in Germany, between 1395 and 1400. Died there, 1468.]
Nothing is known of the early history of Gutenberg, save that he wasborn of a patrician family. In 1427, he resided at Strasburgh. When and where his first attempt at printing was made, it is impossible to say, for he never affixed his name, nor the date of printing to any of his productions. About 1438 he first employed moveable types made of wood. In 1443, he quitted Strasburgh, and returned to his native place. There he met with one John Faust, a rich goldsmith, and engaged with him to establish a printing-press, Faust finding the money for the undertaking. The press was established, and then, for the first time, the Bible was printed in Latin. Business went on prosperously for a time. But, four hundred years ago, it fared with great discoverers and great speculations as at the present hour. Faust had made large advances, and Gutenberg could not meet the claim. The pair went to law; and, as it falls out in these cases, the goldsmith got the verdict. He retained the business. Gutenberg was thrown upon the world. There he found a friend, was set upon his feet, and established another press. In 1837, a splendid monument, by Thorwaldsen, was erected to the memory of Gutenberg in his native town, where the members of the Gutenberg Society—to which many of the writers of the Rhenish provinces belong—meet to celebrate his mighty discovery, and to do honour to his name. Who shall fix the merit or assess the claims, or tell the influence exercised in the world by the portentous labours, of “The Inventor of Printing?”
[By E. Von Launitz. Plaster. 1840. Modelled gratuitously by the artist, for the celebration of the invention of printing in 1840. For an account of the very line monument erected to Gutenberg at Frankfort by E. Von Launitz, see No. 175 of Handbook to Modern Sculpture.]
342.Immanuel Kant.Metaphysician.
[Born at Königsberg, in Prussia, 1724. Died there, 1804. Aged 80.]
The founder of a new philosophy in Germany. After twelve years’ meditation, he produced, in the space of five months, his celebrated “Criticism of Pure Reason.” His main theory is, that there is only one source of knowledge, viz., the union of subject and object; that is to say, our knowledge is partlymental, partlyphysical,—one half of it coming from the mind, orsubject, the other half from theobject. The mind has its own forms which it gives to objects. Time and space are forms of the mind, not things existing out of it. By thus restoring to mind its independent activity he was able to oppose Locke, proving that we have ideas independently of experience, and to oppose Hume, by proving that these ideas have a character of universality, necessity, and irresistibility. Hume insisted that the understanding is treacherous. Kant declared it is only limited. For a time, Kant’s philosophy superseded every other system in the Protestant Universities of Germany. A man of high intellectual endowment; his life rigorously philosophical. He lived and died a type of the German Professor. The cathedral clock of Königsberg, which town he never once quitted during his long life, was not more punctual, it was said, than Immanuel Kant.