Wonders of Sculpture  

• To explain how a single fragment of the ruins of a Grecian

154 GBECIAN SCULPTURE.

merits of the shaft and base of an Ionic column of the portico of The Erectheum, which surrounded

temple can give an idea of the whole, we must remember that certain constant principles were followed in the religious architecture of Greece. We will give a brief summary of an explanation of this fact from the Course of Architecture by M. Beule.

"At first, when Hellenic society was still in its infancy, the temple was but a shelter for the god, and as clumsy as himself. Upright trunks of trees were stuck into the ground in such a manner as to form a long square, then a beam was transversely laid along the two elongated sides, to support the sloping rafters of the roof. The trunks being liable to decay, both at the end in the earth and that under the beam, cubes of stone were inserted at either extremity. Little by little columns in stone or marble supplanted the frail and rough trunk, the stone dice at the top and bottom became respec- tively the capital and the base of the column. The lateral beam changed into the architrave, frieze, and entablature. The points or projections of the rafters of the roof became the triglyphs, and the hollow spaces between them the metopes. By sloping to the right and left in obtuse angles, the roof formed the triangular pediment on either fa9ade, and, finally, the ornaments of detail, such as- bucrania, (heads of victims,) egg-mouldings^ palm-leaves^ rosittesy ffiecenders, etc.^ had all been employed by nature before they were borrowed by art.

• • The orders then developed themselves historically by natural

combinations. First came the Doric order, or that of the rough and vigorous Dorian race, which, like them, was strong, austere, and masculine. Then the Ionic order, that of the soft and voluptuous race of Ionia, was pleasing, elegant, and feminine. The flutings of the small columns may be likened to the plaits of dresses, and the festoons of the capitals to wreathed head-dresses. Finally the Corinthian order, that of refined civilization, combined the characteristics of the two sexes and the two races in its complex beauty.

• • This primitive type became fixed, and it was in accordance with

it that all the temples of Greece were erected, differing from each other merely in size and amount of decoration. But the parts always

GRECIAN SCULPTURE. 155

the double temple, dedicated to Minerva Polias, and to Pandrosus (the daughter of Cecrops who kept the secret of the birth of Erechtheus). These are precious relics of Grecian architecture, very finely finished, which prove the exquisite manner in which every part of this temple by Pheidias was worked up. It contained one of his three Pallases, the Polias, which was no less celebrated than the Lemnian and the Warrior Pallas; some fragments of Propylaea from the temple of Nike Apteros (or victory without wings), from the temple of Theseus, from the tomb of Agamemnon, at Mycenae, etc.

Amongst various inscriptions of laws and annals, there is one styled the Sigean, It relates to the presentation of three vessels, a cup, a saucer, and a strainer, for the Prytaneum or hall of justice at Sigaeum, a little town of the Troad, in which was the tomb of Achilles and Patrocles. This insigni- ficant inscription is valuable on account of its being written in the most ancient Greek characters, in the style called boustrophedon^ because the lines follow

remained in accordance with the whole, both in their proportions and in their style. As a fossil fragment of an antediluvian animal gives a geologist a measure of the whole, so any portion of a Grecian temple gives the size of the edifice, the architectural order adopted, and even the amount of general decoration employed."

156 GRECIAN SCULPTURE.

each other in the same direction as furrows made by an ox in ploughing, that is to say, one line goes from left to right, and the next back from right to left ; " like those," says Pausanias, " who run the double stadium," and so on to the end of the page or tablet. Inscriptions in this primitive form of Grecian writing are very rare.

Amongst the sculptures which do not belong to the Parthenon, we must single out for admiration and study a much mutilated colossal statue of Bacchus, which was on the top of the choragic monument raised to the memory of Thrasyllus, by the remorseful Athenians, who had put him to death after the naval victory of Arginusae ; and still more must we admire a well-preserved ar- chitectural statue which all may gaze upon in its primitive perfection. It is one of the four caryatides which supported the little roof under which the olive-tree of Minerva was sheltered in the temple of Pandrosus. It has been placed on the capital of a Doric column of the Propylaea. It is on foot, upright and immovable, but beneath the heavy falling folds of the long tunic, one knee moves slightly, and by suggesting life and animation, breaks and gives a kind of undulation to the general outline of the body. This trifling action marks the great difference between Egyptian art,

QBECIAN SCULPTURE. 157

servilely submissive to an inflexible creed, and that of Greece, which was as free from dogmas and as independent as the democracy of Athens.

An emblem of calm power, this admirable caryatid might be taken for a Kanephora, for she seems to bear the capital which crowns her, and the entablature supported by this capital, with as much ease and grace as if it were a mere amphora. This statue is of the same age and style, and perhaps from the same hand, as the Pallas Polias ; in any case it is worthy of the author of the latter, the divine Pheidias.

We now come to the marbles of the Parthenon.

In the centre of the Acropolis (upper town) or fortress of Athens, stood the temple of the guardian goddess, Athena, from whom the city took its name. Dedicated to the Virgin Minerva (Parthenos), it was called the Parthenon (or Virgin's Chamber). The Persians under Xerxes, who were iconoclasts like the Jews, utterly demolished it, when, before the battle of Salamis, Themistocles withdrew the Athenian troops to their ships. After the glorious victories of the Median war, when Athens, her democracy re- stored, occupied the first rank amongst the towns and states of Greece, Pericles had the Parthenon re- built (about 440 B.C.). The site and proportions of the ancient temple, which was called Hecatompedon^

158 GRECIAN SCULPTURE.

because the fafade measured a hundred Greek feet, were retained, but the form and decorations of the later building were entirely new. Ictinus and Callicrates were charged with its construction, and Pheidias, who had been elected president of public works by the popular voice, was commissioned to supply the ornaments. He cannot have executed this great work alone. When we remember how many statues he made for the temples of Greece, we cannot doubt that he received help from his colleagues and pupils. But Pheidias in the Parthe- non, like Raphael in the Stanze and Loggie of the Vatican, had supreme control over the works : he chose the subjects, drew the plans, the pediments, the metopes, the friezes ; corrected, touched up, and finished the works of his helpers, and himself chiselled the chief figures of the large compositions. The colossal Pallas Promachos, or Warrior y which occupied the most prominent part of the Acropolis on a high pedestal, and which rivalled that great Zeus Olympius which was accepted as his image by the king of the gods himself,* was evidently from the hand of Pheidias ; because on the

♦ Jupiter himself approved this work ; for when it was finished, Pheidias entreated the god to give him some token if he were satisfied; and it is related that a thunderbolt immediately struck the pavement of the temple on the spot where a bronze um is still to be seen. (Pausanias, ElicU, chap, xi.)

GRECIAN SCULPTURE, 159

aegis of the goddess who sprung, not from the brain of Jupiter, but from his own genius, he has inscribed his own portrait by way of signature.*

Some Anytus (artists are no less intolerant of each other than theologians) charged him with impiety, as the son of the sculptor Sophroniscus was afterwards accused. Pheidias had to flee his ungrateful country, and thirty years before Socrates drank the hemlock he died in exile. But his work was finished, and when the few last fragments have crumbled into dust in the course of ages, Pheidias will still be immortal. As long as the traditions of the human race are preserved upon our earth, he will retain the name bestowed upon him by the admiration of the Greeks — he will be the " Homer of Sculpture."

Unfortunately the natural ravages of twenty- three centuries have not alone wrought havoc in the works of Pheidias which adorned the Parthenon. Man has too much aided the destructive action of time. No corner of the earth was richer than Attica in monuments of art ; no corner of the earth was oftener or more cruelly devastated by all the enemies of art, by war, conquest, and the fanaticism

• At the foot of his yupiter OlympitiSy which, like the Warrior

Minervay was a chryselephantine statue, that is, one formed of gold and ivory, was inscribed : "Pheidias, Athenian, son of Charmides, made me."

160 QBECIAN SCULPTURE,

of religious sects. The destruction of the buildings

of Athens must have begun with the conquest of

the Romans under Mummius, Metellus, and Sylla,

who laid a desecrating hand on all the temples of

Greece, that they might accumulate a promiscuous

collection of spoils in those of Rome. Under the

Romans again, when the double throne of the

empire was under Christian sway, the monuments

of Greece, especially the temples, fell a prey to the

rage of the first converts, who, in their blind

fanaticism, broke all the idols and other objects of

heathen worship. A third and terrible devastation

took place during the heresy of the iconoclasts,

which was rampant in the Byzantine empire from

the fifth to the eighth century. Then came the

crusades, and the conquest of Greece, and taking

of Constantinople under Baldwin of Flanders (1204).

These barbarians of the West, who broke in pieces

the Zeus Olympius and the Hera of Santos^ until

then preserved in the city of Constantine, did not of

course spare the Pallas of Athens. And, lastly,

when Roger de Flor and his Aragonese adventurers

took Attica from the Grecian empire (13 12), when

the Venetians took it from the Aragonese (1370),

and when Mahomet IL wrested it from the

Venetians, we can imagine that no class of pillage or

devastation was spared. But the conquest of the

GRECIAN SCULP TUBE, 161

zealous Turkish iconoclasts was not the last calamity which fell upon the city and temple of Pallas. The Venetians reconquered Greece in 1687, and were not expelled from it by the Turks until 171 5, after many bloody battles, and when in 1 82 1 all Greece rose against her Egyptian and Turkish masters, and during the nine years that the war of independence lasted, until the French expediton in 1828, there was not a town which did not have to resist assaults, not a building which was not converted into a fortress. Situated as it was, in the Acropolis, the Parthenon could not escape the common doom, and the bullets of Islam destroyed all that had been spared by the Turks of Selim and Mahomet, the Venetians, the Ara- gonese, the crusaders, the Byzantine iconoclasts, the bigoted Christians, and the barbarous Romans. France, the disinterested liberator of Greece, might justly have claimed the privilege of reverently collecting the remains of the Parthenon she had freed ; but the English were before her, not in the service rendered, but in carrying off the prize. We know that during his embassy to Constantinople, from 1799 to 1807, Lord Elgin, profiting by the weakness of Selim III., whose policy and actions he guided, pillaged the temples of Greece without ceremony, although not without excuse, and took

M

162 GRECIAN SCULPTUBE.

possession of all the sculptured decorations which still remained in the Parthenon. Though satirized by the personal enmity of Byron, Lord Elgin brought to England the produce of his successful pillage, and the marbles of the Parthenon were then placed in the room in the British Museum which is named after their ravisher.

To illustrate what these precious spoils were before they were torn from the building they decorated, two small models of the temple of Minerva have been placed in the same room. One represents the Parthenon as a whole, as it was in the age of Pericles ; the other, what it has been reduced to by time and the hand of man ; a melan- choly heap of ruins and rubbish. With these models before our eyes, it requires but little atten- tion and consideration to restore everything to its place in our imagination, and from these scattered fragments entirely to rebuild the work of Pheidias.

It consists of three principal parts — the frieze, the metopes, and the pediments. The exterior frieze of the celluy or sanctuary, inside the colonnade or peristyle, which entirely surrounded the cella, was simply called the frieze. It consists of a long series of marble slabs, succeeding each other without interruption, of equal proportions, all sculp- tured in bas-relief, and all relating to one subject,

GBECIAN SCULPTURE. 163

SO that it is easy to see what place each one oc- cupied in the original plan. The subject is the general procession of the grand Panathenaic (Panathena^a) fetes, instituted in honour of Minerva, by the old King Erichthonius {1500 B.C.), when the goddess of Athens was proclaimed goddess of all Attica. They were celebrated once every four

F g 32 — God F e 33 — Young Mar

(Frieie of the Parthenon.)

years, and the lesser Panathentete appointed by Theseus were annual. In the grand f^tes a rich peplos, embroidered by the maidens of Athens, was presented to the goddess. It was borne in pomp to the temple, on a ship moved by hidden machinery. Some of these marble slabs are wanting in the British Museum Collection (we have one in the

164

GRECIAN SCULPTURE.

Louvre), and their places have been supplied by plaster casts to complete the series, which is arranged in the Elgin Saloon in the same order as it was on the outside of the cella of the temple of Minerva.

The subjects of the bas-reliefs of many of the first of the slabs are gods and goddesses or deified heroes,

Fig. 34-— CavrJier. Fig. 35.— Cavaliers.

(Frieze of the Patthenon.)

all seated in pairs : Jupiter and Juno, Ceres and Triptolemus, ^sculapius and Hygeia, Castor and Pollux. Trains of females follow, with their faces directed to the gods to whom they are carrying gifts. Certain of the directors or regulators of the procession receive the presents offered to the gods. After the females come the victims destined for

GRECIAN SCULPTURE. 165

sacrifice, the chariots and charioteers, the metceciy or strangers resident in Athens, bearing on their shoulders a tray filled with fruits, cakes, and other offerings ; lastly came the horsemen, young men of high rank from the towns of Attica, un- armed and wearing the chlamys only. The groups of horsemen and women, the former especially, are certainly the best part of the frieze of the Par- thenon. Nothing can exceed the variety and boldness of the attitudes of horses and men. The elegance of the forms, the accuracy of the propor- tions, the powerful modelling, the delicacy and finish of the chiselling, combine to make them the masterpiece, the unattainable ideal of the art of bas-relief.

The sculptures of the great external frieze were called metopes, because they occupied the spaces between the architectural ornaments, called tri- glyphs, which surmounted the entablature of the colonnade. The metopes were square niches, which formed a kind of frame for the subject represented. They were painted in antique red (rosso antico), and the intervening triglyphs were blue. As these niches were, on the one hand, not deep enough for statues, and on the other, too high up and far back for bas-reliefs to be visible, they were supplied with ornaments in high relief which were of a medium

1G6 GRECIAN SCULPTURE.

character between flill and low relief. These metopes, of which there are sixteen, all represent episodes of the conflict between the Centaurs and Lapithae, or rather between the Centaurs and Athenians who, under Theseus, Joined the Lapithx,

Fig. 36.— Metope of the Parthenon.

a people of Thessaly then governed by King Pirithous the friend of Theseus, for the destruction of the Centaurs, a race of the valleys of Ossa and Pelion, the licentious robber sons of Ixion and the Phantom or cloud, who were supposed to be

OBECIAN SCULPTURE. 167

half men and half horses, because like the gaiichos and pampas of South America, they passed their lives on their steeds. In the greater number of the metopes, in which the struggle is between one Cen- taur and one Athenian, the Athenians are victorious, in accordance with the traditions of the heroic ages of Athens. In some few the Centaurs have the victory, and in others again it is still doubtful.

It is believed that the whole series of the me- topes is the work of Alcamenes, the beloved disciple of Pheidias, because, according to Pausanias, he placed Centaurs in the pediment of the temple of . Olympus. As they were more exposed to destruc- tion, on account of their form, than the frieze, the metopes of the Parthenon are much more mutilated and disfigured ; and it should be borne in mind, in looking at them, that they were not, like the frieze, placed opposite to and within easy range of the spectator, but along the top of the temple, to be looked at from below.

Having two entrances, the Parthenon had two facades, and therefore two pediments in the tri- angular tympanums. The fagades turning towards the east and west, as was customary in Grecian temples, have been named after the cardinal points opposite to them. The eastern pediment represents the Birth of PallaSy when she sprung

168 GRECIAN SCULPTURE,

fully armed from the brain of Zeus, under the hatchet of Vulcan. The western pediment repre- sented the Dispute of Poseidon and Pallas for the honour of giving name to the native city of Cecrops * They agreed that the producer of the most useful invention should be the victor. Po- seidon formed a horse, and Pallas caused an olive- tree to spring up ; the latter, being the emblem of peace, Athene won the prize. Both subjects stood out from a red ground like the metopes, and the artist so arranged them that each statue had its due share of light and shade every hour of the day. I say the pediments represented^ not repre-

• ** You then come to the temple called the Parthenon. The his-

tory of the birth of Minerva fills one pediment, and her dispute with Neptune about Attica, the other." (Pausanias, Attica, chap, xxiv.) With the exception of a few details apropos of the fable of the Griffins and Arimaspi, this is all that the artist rhetorician of the second century of Rome tells us of the Parthenon. Neither Pheidias, Ictinus, nor Callicrates, are even mentioned. Such coldness and indifference is astonishing. A few lines further on, Pausanias adds : "Near the temple is a bronze statue of Apollo Parnopos (from "Kopvo^y a locust), said to be the work of Pheidias. It is sur- named Parnopos, because Apollo promised to deliver the country from the locusts which were wasting it. We know that he kept his word, but we do not know by what means. I have seen the locusts destroyed on Mount Sipylus three times, and each time in a different manner. The first were carried away by a violent wind, the second were destroyed by heavy rain, and the third perished from cold. All this happened in my day." This is the way in which the celebrated traveller of Csesarea, the great critic of ancient times, judged works of art and spoke of a statue by Pheidias !

GRECIAN SCULPTURE. 169

sent, for alas ! we only know from history and conjectures what were the subjects and who were the personages who figured in them. The most masterly scholarship would fail to construct one distinct scene from the ruins which were collected from the temple and are exhibited in London. Not only are the remaining figures mere fragments, but many, and those the chief, have entirely dis- appeared in the battles, the assaults, the ravages, of which the city of Pallas was so often the theatre and the victim. We will try and give some idea of the magnitude of these irreparable losses.

I do not know the exact difference between the old Athenian and the modern English foot mea- sure ; but it is supposed that the fagade of the old HecatompedoUy or at least of the tympanum of the pediments, being exactly one hundred English feet long, might have been so called before the age of Pericles. Well, then, to confine myself to the eastern pediment (the Birth of Pallas)^ there remain, out of all the figures which composed it, but five frag- ments of the left angle, in length thirty-three feet, and four fragments of the right angle, in length twenty-seven feet. A most careful search has been made, but not a vestige has been discovered of all that filled the forty feet in the middle ; that is to say, the principal scene. Zeus, surrounded by

170 GRECIAN SCULPTURE,

the great gods, is altogether broken, destroyed, annihilated ! Art, like Rachel in the Scriptures, must weep for ever, for she too has lost her beloved children, her noblest productions ; she too can never be comforted. Et noluit consolari* Let us now return to the fragments which remain to us, mere fragments of almost shapeless stone, yet more pre- cious in spite of their terribly mutilated condition than the richest diamonds of Golconda. According to Otfried Miiller, who was followed by M. M. Beul6 and Menard, the subject of the eastern pediment is taken from a hymn of Homer, in which the

• "When the Marquis of Nointel was sent as ambassador to

Constantinople, in 1674, he had good drawings made by Carrey, the pupil of Lebrun, of the frieze, the metopes, and the two pediments, and sent them to Paris to be carefully engraved. The building was already much injured but still complete. It was at the attack of the Venetians, under Morosini, in 1687, that the Parthenon suffered most. Having heard that the Turks concealed their war material in the temple of Minerva, the Venetian general had bombs thrown into it, and on the night of the 26th of September, a terrible explosion burst open the cella^ and cut the Parthenon in two. When, rather later, Morosini was compelled to abandon his enterprise, he wished to carry off the richest trophies to Venice. But the removal of the principal statues was so hastily and awkwardly effected, that they were thrown to the earth and broken to pieces. (M. Leon de Laborde, "Athens in the fifteenth, sixteenth, and seventeenth centuries.")

It was then at the end of the learned and polished seventeenth century, in the middle of the reign of Louis XIV., fourteen years after the death of Moli^re, and seven years before the birth of Voltaire, that this supreme deed of barbarism was perpetrated, the destruction of the central figures of both pediments of the Parthenon !

QBECIAN SCULPTURE. 171

sovereign of gods and men is introduced presenting his daughter to the other divinities. " All the immortals were struck with admiration when the ardent goddess flung herself before her divine sire, with the zegis in his hand The great Olympus trembled beneath the pointed lance of the warrior

Fig. 37. — Heads of Horses. (From the Parthenoit.]

maiden with the piercing glance ; the earth re- sounded far and wide ; the sea held back her waves ; the purple billows quivered ; the brilliant son of Hyperion reined in his swift steeds for a time, • • ■ and the wise Zeus rejoiced." As we have before stated, there remain nine fragments of this pediment, five from the left side and four from the right. Of the left, beginning at the extreme

172 GRECIAN SCULPTURE.

point of the angle, we find first: the head of Hyperion (Helios, the sun) leaving the sea in the early morning, his arms raised from the water holding the reins of his chargers ; then two heads of the horses of the sun, rising from the waves ; then Theseus, the Athenian hero, half-recumbent

Fig 38 —Theseus. (From the Parthenon.}

on a rock, covered with the skin of a lion, and imitating the attitude of Hercules ; then a group of two goddesses on low seats, which are alike in their construction. They are supposed to be Per- sephone and Demeter ; one of them leans her head on the shoulder of the other, that her figure may

GRECIAN SCULPTURE. 173

be lower. Then rising gradually higher, to suit the height of the tympanum, a statue of Iris, the messenger of the gods, who, with her veil inflated by the wind, appears in haste to execute her mission of communicating to the world the intel- ligence of the birth of Athena. Passing over the deplorable break of forty feet in the centre, we find successively, in the right angle beginning at the highest point : the torso of a statue supposed to be a winged Victory, the wings of which were doubtless of bronze, for the holes on the shoulders in which they were fastened to the marble may still be seen ; then in two fragments, the famous group called the three Farces ; one by herself is seated, with her feet tucked under her seat, like a spinner at a distaff; the other two, connected, repose on a ThalamoSy one resting against the bosom of the other, so as to suit the slope of the angle, like Ceres and Proserpine on the opposite side ; lastly, the head of one of the horses belong- ings to the chariot of Selene (night), which is plung- ing into the ocean at the extreme end of the angle, and corresponds with the car of Hyperion on the left. I do not know if the marvellous group of three women really represents the three* Parcae. If so, it will justify my remark in speaking of the picture of the Fates, by Michael Angelo, that the

174 GRECIAN SCULPTURE.

Greeks, in their excessive love of the beautiful, made the ParccBy and even the Furies, not old and hideous witches, like the moderns, but beautiful and powerful matrons, although not quite so charming as the young virgins who represented the Graces.

The subject of the western pediment was the dispute of Poseidon and Pallas * With the ex- ception of the first figure on the left, its remains are in a still worse condition of ruin and mutilation than those of the opposite pediment. Nothing is preserved but a shapeless mass of fragments, the

• Three different traditions of this dispute have come down to

us. According to Herodotus and Pausanias, Neptune caused a spring of salt water to spring from the Acropolis, and Minerva made an olive-tree grow up. According to others — and this is the more generally received version — Neptune and Minerva, the one with a blow from a trident, the other from a spear, produced a horse and an olive-tree from the earth. A third story relates that Neptune created a wild horse, and Minerva tamed it by putting on the bit. This is why the latter was called Hippia^ and to her favourite Erectheus was attributed the honour of having taught men the use of the bridle and reins. It must be acknowledged that the last subject is better suited than the other two to the picturesque arrangement of the groups of a pediment, and Carrey's drawing authorizes the belief that Pheidias adopted it. "The meaning," says M. Louis de Ronchaud, "is the same as that of the tradition of the birth of the olive. The defeat of brute force by intelligent energy is more strikingly typified than in the myth quoted by Herodotus, because Minerva, after having subjected the force created in opposition to her, to her laws, made it subservient to her designs. Blind impetuosity is converted into regulated activity under the guidance of wisdom."

■ GRECIAN SCULPTURE. 175 .

meaning of which we could not even guess without the aid of history. At the extreme end of the left angle, resting like a river god upon his urn, is the figure of Ilyssus, a small stream which took its rise in Mount Hymettus, and ran down to the sea by way of the plain south of Athens. Pausanias says

that it was dedicated to the Muses. This admirable statue, doubtless, owed the good fortune of being better preserved than any other of the Parthenon to its well-sheltered position. Had Michael Angelo known it, he would doubtless have called it, as well as the Torso of the Belvedere, his master in sculp- ture, and he would have felt its outlines with loving

176 GRECIAN SCULPTURE,

hands in his extreme old age. After this immense figure of Ilyssus, comes the colossal torso of a man called CecropSy the founder of Athens. Then some superior fragments, also of colossal propor- tions, of a head of Pallas, originally wearing a bronze helmet, and with eyes of coloured stone ; then a fragment of the body of the same Pallas, a part of the chest covered with the aegis, that is the head of Medusa, with the serpents in bronze ; then a fragment of the torso of Neptune (Poseidon) " of the majestic chest." Then the torso of Nike ApteroSy or Victory without Wings, who was thus represented by the Athenians to indicate that they held her in perpetuity, and she could never desert them. This faithful Victory drew the car on which Minerva was to ascend to Heaven, after her victory over Neptune. Lastly, at the right angle of the pediment, a small fragment of a group of Latona and her Children,

When Marie Joseph Chenier said of the inspired blind poet of Chios :

Brisant des potentats la couronne ephem^re, Trois mille ans ont passe sur la cendre d'Hom^re, Et, depuis trois mille ans, Homere respecte Est jeune encor de glbire et d'immortalite ;

he had before his mind two Homeric poems which had been preserved without alteration, first in the

GRECIAN SOULFTUSE. ITT

memory of men, then in frail writing, and lastly in imperishable printmg The arts are not so fortunate as letters ; for masmuch as their works cannot be multiplied by copies and a single specimen of course occupies but one spot in the world, neither the canvas of the painter the marble of the sculptor nor the pillars and vaults

Fig 40— Toiso.

of architecture, can resist the destructive action of time as well as printed or written matter. The Iliad still remains complete, and the less aged Par- thenon is in ruins. Whilst the glory of Homer rests on the imperishable foundation of his works, ruthless time and sacrilegious men have left to Pheidias nothing but pitiable remains, of which we may say, as of the mutilated body of Hippotytus : Triste objet ou des Dieux Iriomphe la colere,

El que meconnaitrait I'ceil m^me de son p^re.

178 GRECIAN SCULPTURE.

But these relics are so beautiful, so wonderful, so divine ; the feeblest imagination can so readily re- combine and complete them ; they address the soul in language so lofty and profound ; they awaken such insatiable curiosity, such fervent admiration ; they justify so entirely the verdict of Cicero on their author — Menti insidebat idea pulchritudinis — that although centuries have not spared him, Pheidias, like Homer,

Est jeune encor de gloire et d'immortalite.

I could not Speak in more measured terms of the marbles of the Parthenon. It would be culpable neglect of duty to do so. I should feel that I was as sacrilegious as their destroyers. But I must remind the visitor to the British Museum, when he makes his sacred pilgrimage round the Elign room, of one or two facts, viz. : the mutilated metopes are not now seen from the same point of view as when they occupied the entablature of the colonnade ; the frieze, which is in parts better pre- served than the metopes, does not present the same aspect in the inside of a room as it did in the pronaos of the temple, round the outside of the cella ; and lastly, that there remain fragments only of the lateral figures of either pediment ; that they were the least important in the groups, and that the centre or principal part is absolutely wanting in

GRECIAN SCULPTURE. 179

both fagades. If these incomplete fragments, these accessory portions, be so fervently admired, so passionately worshipped, what would be felt before the figures of the great gods of the centre, before the imposing harmony of the complete pediments, " in which," says M. Menard, " each per- fect detail is blended in the general excellence, like individual free will in a Grecian city, like the eternal laws, which are gods, in the concert of the uni- verse ?"

To these remarks I must add anothen 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 without any intermixture of the faults of the decadence. For 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 Raphael 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 the sculptures of Pheidias appear to me more perfect even than the

180 GRECIAN SCULPTURE,

pictures of Raphael, the statues of Michael Angelo, the monuments of Palladio, or the operas of Mozart. This is why we may call them the finest works of art ever produced by human genius. " To believe it possible to surpass them," says Montesquieu, will always be not to know them."

It cannot be denied that the Greeks of the present day, seeing the ancient temple of their Acropolis despoiled of all 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 destroyed, how much the others have been muti- lated, 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. And if a regret has marred the intense pleasure of my own admiration in my many and reverent visits to the marbles of Pheidias, it is that the thief who stole them was not a Frenchman, and that the receiving house which took them in was not the Museum of Paris.

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CHAPTER V.

ROMAN SCULPTURE.

/^"^ UR remarks in a former work on Roman paint- ^-^ ing apply equally to sculpture. Conquered and subdued, reduced to the condition of a mere province of the Republic, and subsequently of the Empire, Greece was nevertheless the instructress of Rome. It was her sons who introduced all the arts and cultivated them in Rome. We have already noticed that the famous groups of the Laocoon and the Toro FarnesCy although produced after the Roman conquest, were executed by Greeks and in Greece, Cicero, Pliny, Quintilian, Pausanias, have transmitted to us the names of all the great sculptors of Hellas ; they do not mention a single native of Rome. The Romans borrowed their subjects, and in arts as in letters, and in everything else, they always cared more for the real than the ideal, they were ever nearer earth than heaven. The sculptures by native artists, or those by Greeks

182 It OMAN SCULPTURE,

who were reduced to the positions of artisans in Rome, were but images of their deified Caesars and their libertine wives, or of the favourites of the imperial palace. Industry, usurping the place of art, manufactured statues of emperors and em- presses before they were needed, and the heads were added according to the requirements of dif- ferent reigns. Statuce iconicce of this kind were far more numerous in Rome than in Greece. The same kind of public homage rendered to the family of the reigning emperor in the capital of the world, was accorded in the provinces to the proconsuls, the prefects, and the powerful patrician families who held whole towns under their control. The nine statues of the Balbus family, found in the theatre of Herculaneum, are a proof of this. We will content ourselves with noticing those grand specimens of the Roman era contained in different collections of works of art, which seem to us to merit attention. We begin in Italy, at Florence,

The museum degl' Uffizi possesses a collection called that of the Roman emperors, which is generally considered the most complete in the world. In it there are, in fact, some very rare busts, such as those of Caligula and of Otho. Including men, women, and chijdren, there are sixty-nine ; from Pompey (who would doubtless be rather

SOMAN SCULPTURE. 183

surprised at being included amongst the emperors) and Cxsar, who should properly begin t

Fig. 41. — Agrippini of Germanicus. (Rome ) to Constantine, and even Quintihus who reigned but twenty days. The Roman statues are less

184 ROMAN SCULPTURE.

numerous : we can only quote one Augustus ha- ranguing the people, one Trajan, and one Hadrian. At Rome we must look for relics of ancient national art in the Capitol, not in the Vatican. The modern Romans, who have partly demolished the Colosseum, who have called the Forum the Cattle Market (Campo Vaccina ), and planted arti- chokes on the Tarpeian Rock, have not even respected the ancient name of Capitol, which should for ever have designated the fortress of the Eternal City. They have converted it into a strange word, Campidoglio, which signifies rather a field of colza, a field of oil, than the citadel of rising Rome, which became the temple where victorious Roman generals sung the Te Deum, in their imposing triumphal ceremonies. Ascending to the new Capitol by the double staircase of Michael Angelo, we pass between the two black Egyptian lions^ the colossal statues of Castor and Pollux, called the Trophies of Marius, and reverently bowing before the bronze equestrian statue of Marcus Aurelius, on the noble head of which the ancient gilding is still visible, we enter the Museum. In it there is another " room of Emperors," con- taining an Agrippina, which is a fair type of the Roman ladies of the age ; an AntinoiiSy the finest of all the statues of Hadrian's devoted friend ; and a

ROMAN SCULPTURE.

Julius Ctesar, placed under the portico of the palace. The last-named is said- to be the only authentic portrait of the founder of the empire which the

Fig. 41. — Antinous.

Papal city has preserved. The proverb which says " a saint is at home in his shrine," would apply to CiEsar in the Capitol, near to a fine statue

186 BOMAN SCULPTURE.

of Triumphant Rome^ and seated between two captive kings, not far from the celebrated Wolff, venerated by the ancient Romans, and immortalised by Cicero in his Catiline Orations, and in his poem on the Consulate.

At Naples we find the nine statues of the Balbus family already alluded to— the father, mother, son, and three daughters — found together in the theatre of Herculaneum, over which town this family exercised a protectorate. Two of them, the equestrian statues of Marcus Nonius Balbus and of his son, are very fine and very curious. The horses are ambling, that is to say> they raise both legs on one side in trotting — a strange attitude, not repre- sented, to my knowledge, in any other ancient or modern equestrian statue. The head of the younger Balbus was broken to pieces by a French cannon ball, when it was in the Palace of the Portici, in 1799, and a new head was made from a cast of the fragments. The best of the other statues of the same family are those of Balbus the father, and of Ciria his wife, who is represented as Polymnia. We notice them for several reasons : in the first place, the execution of most of them is good ; secondly, their discovery together was curious ; and lastly, their arrange- ment in the theatre as tutelary divinities of a con-

ROMAN SCULPTURE. 187

siderable town, proves the high position occupied in those days by the patrician families, who held whole populations in fief.

The series of Roman emperors in the Louvre is not so complete as that in the Uffizi at Florence ; but the French collection is very rich, and is increased by statues of many illustrious personages who did not occupy the throne. The room con- taining their iconicce^ or portraits, is in a manner presided over by two principal statues, which have attained this distinction by their superior beauty and the imposing titles they bear. One of them is an AugtistuSy the other a Marcus Aurelius, Julius Caesar, whose name became the title of the head of the state as long as the Roman Empire lasted, and afterwards passed to that of Germany (Kaiser), ought to be the chief of all these masters of the world ; but the only statue of Caesar in the Louvre is not merely of doubtful authenticity, but also of no artistic value whatever. His immediate successor has therefore been preferred to him. This really fine statue of Augustus as an orator on foot, was found near to Velletri (Velitrae), the birth- place of the conqueror of Actium. He seems to be proudly saying, " I found Rome a city of bricks and leave it a city of marble ;" which would not, however, justify the crimes which marked his

188 ROMAN SCULPTURE,

accession to supreme power. Had not the name of the third Caesar, Tiberius, been disgraced by blood- shed and debauchery, and branded by Tacitus, his statue might have claimed first rank. It was found at Capri {CaprecB)^ the favourite residence of this gloomy tyrant, who is represented holding the small sceptre called scipio (staff), and it may be considered one of the finest works of the Imperial epoch. It gives a perfect specimen of the toga, the robe of which the Romans were so proud, and on account of which they were called by foreigners gens togata ; the use of which was discontinued soon after the age of Augustus, in spite of the edicts of the emperors.

Marcus Aurelius was totally different from Tiberius. He justified Plato's dictum : " Men will never be happy unless they are governed by philosophers." He was a royal philosopher, he was Socrates crowned. The second place of honour is therefore rightly given to one of his statues : he wears the military costume, the paludamentunt and the cuirass of ornamented leather, fitting to the shape, and leaving parts of the body bare, as in the images of heroes and gods. This second statue was probably not raised until after the death of M. Aurelius, when the excesses of his successor had increased the regret of the world for his loss.

ROMAN SCULPTURE, 189

In both, Marcus Aurelius wears the beard, which was again introduced by the family of Antoninus, after being discontinued for four centuries, from the time of the old Scipio (Barbatus), grandfather of the first Africanus.

Amongst the other imperial statues we will notice : a Liviuy the wife of Augustus, represented as Ceres, whose tunic is as worthy of study as the toga of Tiberius ; a Julia, daughter of Augustus ; and, like her mother-in-law, dressed as Ceres (the left hand of this infamous woman, who was successively the wife of Marcellus, Agrippa, and Tiberius, has fortunately been preserved, an excep- tional circumstance, as the hands and often the arms of most antique statues have been restored) ; a Caligula, or rather a head of Caligula, on a strange body, for the feet are without the simple leather boots (caligae) which that emperor wore from his infancy, in the camp of his father, Ger- manicus, and from which he obtained his surname (this head is valuable on account of its rarity, for it is well-known that the sword of Chaereas had scarcely freed the earth from the furious madman who wished that "the Roman people had but one head, to be struck off at a blow," when that people, who always survived their masters, threw down and destroyed all the images of the tyrant) ;

190 ROMAN SCULPTURE.

a Victorious NerOy triumphant, not over the conspi- racy of Piso, or that of Vindex, but in chariot races, or in trials of skill on the cithara (xtOapa) or on the flute. He wears the heroic costume, that is, nudity, and on his head rests the diadem, not of a king, but of a victorious athlete. Who would recognise in this beautiful and tender figure of the son of Agrippina, the assassin of his mother, his brother, his wife, of Seneca, Lucan, and many others, the incendiary of Rome, and the torturer of the Christians ? A Titus, doubtless sculptured when he returned from the sack of Jerusalem before he became the peaceful and benevolent prince who was called delicia generis huniani. He is, in fact, in the attitude of a general addressing the military adlocutio to his troops. His armour is remarkable for the ocrece or greaves (the KprffuSe^ of the Greeks), which covered the leg from the ankle to the knee, and also for the short heavy sword hanging from a belt. A Trajan, that great and noble emperor, praised by Pliny the younger and by Montesquieu seventeen centuries after his reign, the conqueror of the Dacae, and the Par- thians ; he wears an Isis on his breastplate instead of the Medusa, and his feet are bare, as was his custom in war. Lastly, a Pupienus (or Maximus), almost nude, as required in the so-called heroic

ROMAN SCULPTURE, 191

costume. This last statue has an interest of its own, for we may say that after the death of Pupienus, who was massacred in 236 by the Praetorian guard, the ancients did not produce a single work of art truly worthy of the name.

Amongst the iconic statues, not imperial, we will name : a TiridateSy to w^hom Nero gave the kingdom of Armenia, and whom he received at Rome with oriental magnificence. This figure is remarkable for its Asiatic costume, the purple candys on the white tunic, the pantaloons called anaxyrideSy and the sampkerUy or sword of the Parthians. Two figures of Antinous, We know that Hadrian's beautiful favourite lost his life in saving his master from drowning in the Nile. The emperor was so inconsolable for his loss that he made him a god. "That extra god," says Chateaubriand, "whom he bequeathed to the Romans, worthy recipients of the gift." It was just at the time when Roman artists (or perhaps we should say those of Roman Greece), in their endeavour to infuse new life into enervated sculpture, sought for models in ancient Greece, Etruria, and even Egypt. The beautiful youth of Bithynia became their constant model ; they converted him into a new Apollo, a new type of manly beauty. Of the two statues in the Louvre, one represents

102 ROMAN SCULPTURE.

him as Hercules, but probably the head only is that of Antinous, and the body that of Commodus ; the other, as Aristaeus, the Thessalian hero, became the god of bees, of flocks, and of olives. In the latter, which is perfectly well preserved, Antinous wears the costume of a shepherd — the petasus^ or straw hat, the half tunic which leaves the right arm free, and the leather boots called perones.

Amongst the Roman busts we will briefly name in chronological order : an Agrippa, an excellent portrait of the real conqueror of Actium. A Dotni- tiiis Corbuloy whom Nero never forgave for intro- ducing the honour and virtue of Rome into the camp, thereby condemning the crimes of the Caesars. A Nero, in which this last offshoot of the hateful race of Augustus is represented in a sideral crown with eight rays. A Domitian^ whose por- traits are as rare as those of Caligula, for the senate proscribed even his memory. A colossal AntinoiiSy as Osiris, who once had the lotuSy the sacred plant of Egypt, on his head, precious stones in his eyelids, and gilt bronze draperies on his shoulders. A Lucius Verus, a delicate and pleasing portrait of the adopted brother of Marcus Aurelius, of that effeminate type of Roman petits-mattres^ who powdered their hair and beard with gold dust. A Septimus Severus^ wearing the ancient mantle

ROMAN SCULPTURE. 193

of heavy stuff, called Uena by the Romans, and 'XkcLiva or 'xKoevrj by the Greeks. It is mentioned by Homef, and by a return to ancient fashions, it finally superseded the toga. A Caracalla and a Geta^ the brothers who shared the imperial throne for a short time, until one stabbed the other. We recognise Caracalla not only by his ferocious expres- sion, but also by the inclination of his head to the left, in imitation of Alexander the Great. A PlautillUy the wife of this insane monster. A Matidia^ the amiable and virtuous niece of Trajan. A Faustina^ mother of the first Antoninus ; a younger Faustina^ the lascivious wife of Marcus Aurelius, give instances of the strange head- dresses adopted by Roman ladies in lieu of the simple braids of hair which the Greek ladies bound so tastily with coloured ribbons. The former wore large ugly wigs called casque {galerus or galericulum)^ of every fantastic, absurd, and inconceivable shape, which were usually made of red hair imported from Germania. There are some bust portraits of this period, which, for greater accuracy, have the wig of coloured stone, made to take off and on, so that it could be changed at will.

Lastly, of the bas-reliefs made at Rome, and which were nearly all external ornaments of sarco- phagi, we will select for notice : two of those

O

194 R OMAN SCULP TUBE.

solemn sacrifices which were offered up every five years in each quarter gf the Eternal City, called suovetauriliuy because the magistrate ordered the victimarii to immolate a pig (sus), a sheep {ovis)y and a bull {taurus). The larger and coarser one better illustrates all the details of the sacrifice, and the smaller is of more delicate execution ; one will delight antiquaries, the other artists. A Conclamatio^ a funeral ceremony, in which the dead are loudly called to the sound of warlike instruments, to ascertain if life be really extinct. In this bas-relief we see the straight trumpet of the Roman infantry (the tubd)y and the curved trumpet of the cavalry (the lituus). The PrcBtorian soldiers, to whom an adlocutio is perhaps being addressed In this grand bas-relief we may profitably study the entire costume of Roman soldiers ; the long, oval shield, the breastplate fitting to the chest, the short, broad, and heavy swords, which inflicted such terrible blows in a hand-to-hand conflict. The centurion has a winged thunderbolt on his shield, as a token that he belonged to the famous twelfth legion, called legio fulminans.

With regard to these iconic statues, both Greek and Roman, I may perhaps be allowed to make one closing remark applicable to the works of our own day. In almost all these marble portraits

ROMAN SCULP TUBE. 195

the pupils of the eyes are represented, sometimes even by enamels. Remembering this, and also that Donatello, Michael Angelo, and the great artists of their age added pupils to the eyes of their statues, I would no longer accept the excuse of modern sculptors, who omit this most essential part of the human head, even in their portraits, urging the interests of the honour of arty and the example of the ancients ! On the contrary, I could wish them to imitate the ancients in this particular, and their contemporary, Houdon, who, following Coysevox, the Constou, Girardon, and Pigalle, made two marble portraits of Voltaire and Moli^re, which are admirable because he succeeded in giving expres- sion to the eyes, without which there can be neither life nor resemblance.

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BOOK II.

MODERN SCULPTURE.

IN the happy age called the reign of the Anto- nines, from Nerva to Marcus Aurelius, and especially under Hadrian, surnamed reparator orbis^ a great and noble effort of renaissance was made in every branch of art. The nu- merous statues of Antinous, together with the images of the Caesars, and the bas-reliefs of the Trajan column, suffice to show us that the sculptors of Imperial Rome were able, at this time, to contest the palm with those of Republican Greece. Before the era of the Antonines, however, art had declined, and after it all true culture was entirely abandoned When Rome had enriched herself with the spoils of the world, ker wealth, as we have before observed, vitiated her taste, and she learned to care more for riches than for beauty, for the precious metals than for the ordinary- materials of the arts. Pompey exhibited his portrait made in pearls, and Nero conceived the

MODERN SCULPTURE, 197

idea of gilding the hronzQ Alexander oi Lysippus, after having a picture painted of himself one hundred and twenty feet high, which Pliny called insanium inpictura. We have also noticed that the statue of the Emperor Pupienus, killed in a revolt in 236, is the last work of antiquity — that is to say, executed before the triumph of Christianity — to be found in the museums of Europe.

When Constantine transferred the seat of the new empire to Byzantium, he took with him many of the objects of art which had embellished Rome. We know, for instance, that he had four hundred and twenty-seven statues placed in the temple of St. Sophia alone. The gods and heroes of paganism were adapted to suit the requirements of the new religion, in the same manner that basilicas and praetorian justice halls were transformed into chuches. But Constantine was not accompanied by artists capable of producing statues of equal merit, although he ordered images of Jesus, Mary, and the apostles. It was the material, not the execution of these statues, which was valued. When Anastasius enumerates the gifts presented to the churches by Constantine, he mentions eighteen statues in solid silver, namely: "The Saviour seated, weighing one hundred and twenty pounds ; the twelve apostles, ninety pounds each ; four

198 MODERN SCULPTURE,

angels of one hundred and twenty pounds weight each, with eyes made of precious stones," etc. A single fact is enough to prove to what an extent the horrible taste for the fantastic and impossible was carried at this time. Constantine's historians relate that he also ordered a group which combined the portraits of his three sons, Constantine, Con- stantius, and Constans. This group, in porphyry, had three bodies, six arms, and six legs, but only one head, which alternately gave the likeness of each of the three brothers, according to the point of view of the spectator. The first Christians had none of the enlightened taste and enthusiasm for the fine arts of the polytheists ; their ignorance and prejudice were alike profound. When the Apostle Paul visited Athens (about A.D. 50) it still pos- sessed almost all its masterpieces of ancient times ; the Acropolis was still an unrivalled museum ; " but all these wonders," says M. E. Renan, " affected the apostle little ; he saw the most perfect things that ever existed, that ever will exist, . . . and he was unmoved ; he did not tremble. The prejudices of the iconoclast Jew blinded him, and rendered him insensible to the beauties of plastic art ; he took these incomparable images for idols. . . . Ah, fair and chaste images, true gods, true goddesses, tremble before him who will raise the hammer

MODERN SCULPTURE. 199

against you. The fatal word is pronounced, you are idols ; the error of this ill-favoured Jew (ce laid petit Juif) will be your death warrant." At Athens Paul saw only the altar to the " Unknown God/' and of his own authority he conferred it upon the God of the Jews, the only God, the unnamed God.

It was indeed a death warrant pronounced by a stupid and lamentable hatred. After the pagan reaction of Julian, surnamed the Apostate, the Christians in blind fury set to work to destroy all the vestiges of antiquity, all the objects of art. "Burning to annihilate all that could recall paganism, the Christians," says Vasari, " destroyed the marvellous statues, sculptures, paintings, even the images of great men which adorned the public buildings." Rome, Athens, and Constantinople alone were able to preserve a few relics of antiquity Everywhere else pagan works were thrown under the hammer, the wheels of chariots, or into burning furnaces ; and such was the popular fury, that it was necessary, when antique statues were to be removed from one capital to another, to bind them like criminals, and give out that they were going to be exposed to the ridicule of the faithful in the places of execution. The writings of the fathers, and the sermons of the bishops, excited such

200 MODERN SCULPTURE.

violent prejudices, that the first Christian emperors were compelled to issue several edicts for the destruction of idols, and this destruction was so general and complete, that when Honorius renewed the order that they should be broken, for the fourth time, he added : " If any still remain, si qtia etiam nunc in templis fanisque consistunty

Need I say more of the outrages of the icono- clasts ? need I repeat that these sectarians, in the East at least,. succeeded in destroying all ancient sculptures, and that, interpreting the sacred text literally, they prevented any new cultivation of the art ? When jewellery was preferred to everything else, and when painting was confined to enamels, gems, and chasings on gold or silver, sculpture produced nothing but miniature figures in one metal, or in a combination of different metals. The only architectural art of the Lower Empire was the mosaic.

We must therefore return to the west for the revival of sculpture and the renaissance of all the arts.

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CHAPTER I.

ITALIAN SCULPTURE.

WE cannot pause to notice the crude pro- ductions of the first Christian age in Italy ; they are not even essays in art. When beauty was proscribed as fatal and culpable, when the Fathers said, with Minucius Felix, " impure spirits . are hidden in statues," what use could art make of stone and marble ? In the ruins of some of the earliest churches we find thick and clumsy blocks, without shape or expression, supposed to repre- , sent a god or a saint, reminding us of the primitive divinities of Greece before the time of Dsedalus; or chimerical monsters forming the gargoyles of the roofs of churches, disguised under the name of devils ; that is all. In France and Germany alone we find the beginnings of a national art at this epoch. In Italy, then, we will pass with one huge stride over the entire interval between

4

the Antonines and the Renaissance, and begin our work with the Middle Age.

202 ITAIJAN SCULPTURE.

It was not at Rome, but in ancient Etruria, in republican Tuscany, that the revival of the arts began, and the first result was the reform of sculpture. The chief honour of this reform belongs to Nicola of Pisa, who was the Giotto of statuary. He was the first to study the bas-reliefs repre- senting a chase of Hippolytus or of Meleager, on the sarcophagus containing the body of Beatrice, mother of the famous Countess Matilda. He mastered the style of the ancients, and succeeded in imitating it in the pulpits of Siena and Pisa, and later in the tomb of St Dominic at Bologna. He was called Nicola delV urna^ because, in 123 1, he made the beautiful urn of the founder of the Inquisition. What a difference between the works of this first reformer of art and the rough bas-reliefs produced less than half a century earlier by a certain Anselm^ — called, however, Dcedalus alter — to commemorate the 'retaking of Milan from Frederic Barbarossa ! After Nicola of Pisa come, successively, his son Giovanni ; his pupil Arnolfo ; the brothers Agostino and Agnolo of Sienna ; then Andrea of Pisa ; Andrea Orcagna, a universal artist, a Michael Angelo anticipated ;* and lastly, Ghiberti, Donatello, Delia Robbia, and Sansovino, all of Florence.

• He signed his sculptures, Fece Andrea di Cione, pittore ; and

his paintings, Fece Andrea di Cione, scultore.

ITALIAN SCULPTURE, 203

Lorenzo Ghiberti (1378 — 1455) is chiefly known as the author of the bronze gates of the Baptistery of Florence. He was not more than twenty years old when the great work ordered by the Commune was awarded to him, with the approbation even of his rival competitors Brunelleschi and Donatello.* In his biography of Ghiberti, Vasari describes in detail the sixty subjects of the bas-reliefs of the three gales, at which Ghiberti worked as sculptor, chaser, and founder, for forty years of his life. Although the plans and groups of these bas-reliefs may with justice be called too complicated, Michael Angelo said that the gates of the Baptistery were worthy to be those of Paradise. "This master- piece," adds Vasari, "is perfect in every part, and is the finest in the world."

•Donatello, or Donato (1383 — 1466), who was an orphan, educated by charity, succeeded equally well with full relief, high, low, and very low relief, and has left his best works to his country. To the carpenter's guild, a marble St. Mark; to the Piazza del Palazzo Vecckio, a bronze Judith; to the Uffizi Gallery, an Elfin Dancey a David^ conqueror of Goliath, and a St, John the Baptist, emaciated by

• So says Vasari, but as Donatello was five years younger than

Ghiberti, it is probable that the historian of painters and sculptors is wrong in placing him amongst the competitors.

204 ITALIAN SCULPTURE.

fasting. This last work is a marvellous repre- sentation of the inspired forerunner, of the zealous locust eater ; it is one of the productions of that stem and conscientious Donatello, who, in the midst of the fStes given at Padua in his honour, could write down the profound thought : " 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 ad- vance." Connoisseurs compare this John the Baptist to the St. George of the Or-San-Michele at Florence alone, and the Fra Barduccio Cherichini, in one of the niches of the Campaniley is the only sculpture preferred to it. The last named, commonly called lo Zuccone (the bald-head), was Donatello's favourite work, and when he had finished it, he exclaimed, like Pygmalion to Galatea, "Speak! speak-!" (Favella ! favella !) and was in the habit of swear- ing " by the faith I have in my Zuccone !"

Luca della Robbia {1400 — 1481) is supposed to have invented the process of enamelling terra-cottas ; he preceded Bernard Palissy by about a century, but neither of them laid claim to the invention of enamel. The Greeks, the Phoenicians, even the Egyptians, were familiar with the art of coating terra-cotta objects with glazed colours. Della Robbia adapted it to sculpture, Palissy to pottery>

ITALIAN SCULPTURE. 205

and the enamellers on metal to painting. We have some very valuable works by Delia Robbia in the Louvre ; a St Sebastian bound to a trunk of a tree, which seems to be merely a trial of the style, for the only part glazed is the white cloth round the loins. The Virgin adoring the Infant Saviour^ a kind of bas-relief in the centre of a round frame rather like a large plate, is another specimen of the process, but incomplete also, for (with the exception of the eyes, which are black) the entire group, figures and draperies alike, is glazed white, on a ground of two colours — blue for the sky, and green for the landscape. We see the invention brought to perfection in a Madonna holding the Infant Jesus, a very fine group in full relief, the different parts of which are glazed in all the colours which would be employed in a painting, with the beautiful varnish called invetriato by the Tuscans.

Sansovino (Jacobo Tatti) was born at Florence in 1479, ^^d l^ft ^ Bacchus to the Uffizi Gallery, which will bear comparison with that by Michael Angelo ; but he took up his abode at Venice, where he was summoned and retained by the doge, Andrea Gritti, after having first worked at Rome under Julius II. Duke Cosmo, Duke Hercules, and Pope Paul III. all urged him to devote his

206 ITALIAN SCULPTURE,

double talent, as a sculptor and an architect, to their respective capitals, Florence, Ferrara, and Rome ; but according to Vasari, he replied to all their solicitations : " Having the good fortune to reside in a republic, it would be madness to go and live under an absolute prince." The principal works produced for Venice by Sansovino have remained in the rich and altogether oriental church of St. Mark. The most important are the four bronze statues of the Evangelists in the choir, and still more admirable is the magnificent gate of the sacristy, behind the altar, also of bronze ; an astonishing work, at which Tatti is said to have laboured for thirty years. Amongst the designs on this gate, Sansovino has placed his own bust in relief, between those of his two friends, Titian and Aretino, who, however, can lay little claim to sanctity.

The equestrian statue of the famous condottiere Bartolommeo Colleoni of Bergamo, in the small lateral piazza of the church of San Giovanni San Paolo (in common parlance, San Zanipold) at Venice, also belongs to the fifteenth century. It was designed by the Florentine Andrea Verrocchio — who was a painter, sculptor, engraver, jeweller, and musician — and was cast in bronze by Ales- sandro Leonardo, who also executed the graceful

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Corinthian pedestal which supports it This cele- brated equestrian statue, one of the first produced by the Renaissance, is eulogised by Cicognara in the following terms : " The horse seems ready to descend from its pedestal. Its movements are full

^e- 43- — Equestrian siatue of Baitolommeo Colleoni. 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 produced in this style."

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This age can also claim onie of the most mar- vellous works ever produced by sculpture, which is placed in the kind- of semicircular gallery which runs round the choir of the Duomo of Milan. It is the statue of a flayed man, called St Bartholomew^ on account of the legend. Imagine a human body, as large as life, entirely deprived of its skin, from the crown of the head to the soles of the feet, standing in the natural position of a man free from pain, and wearing this skin flung over his shoulder like a mantle. Imagine, further, the greatest beauty of form, the strictest truth of action, the most incredible perfection of execution of the muscles, the nerves, the bones, the sinews, the veins ; of all the details revealed by anatomy, and you will have an idea of this strange masterpiece, which, for. patient and scrupulous chiselling, is probably un- surpassed by any ancient or modern work. The very colour of the marble, which has assumed a reddish tint, aids the illusion and adds to the admirable effect. Beneath this strange statue is the following inscription :

" Non me Praxiteles, sed Marcus finxit Agrates."

The name of the author is all that is known of its history. This Agratus, Agrates, or Agrati, or whatever he is called, is alluded to in no biography, in no book on art ; his birth, his death, his country.

/

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the time at which he lived, are alike unknown, and I know of no other production of his chisel. Most probably, like a Benedictine, he worked all his life at this kind of infolio in marble, and died content after having proudly compared himself to Praxiteles. This statue of the Flayed Man would be more appropriately placed in a museum than in a church.

We have now come to Michael Angelo.

We know that Michael Angelo Buonarroti was born in 1474, in the castle of Caprese, in the Casentino. He was of a noble family, which reckoned the famous Countess Matilda among its ancestors. His nurse was the wife of a stone- cutter, and the young Angelo showed germs of his artistic genius even in his cradle. Speaking of him, Vasari says : " While the best artists were en- deavouring by the light of Giotto and his followers to give the world examples of such power as the benignity of their stars anpi the varied character of their fantasies enabled them to command, and while desiring to imitate the perfection of nature by the excellence of art, they were struggling to attain that high comprehension which men call Intelligence, and were universally toiling, but for the most part in vain, the Ruler of Heaven was pleased to turn the eyes of his clemency towards

P

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earth, and perceiving the fruitlessness of so many efforts, the ardent studies pursued without any result, .... deigned to send to the world a spirit endowed with universality of power * in each art and in every profession, capable of showing by himself alone what is the perfection of art, ... . in painting, . . . sculpture, ... and architecture. . . . The Almighty Creator was 'also pleased to accom- pany the above with the comprehension of true Philosophy, and the adornment of graceful Poesy, to the end that the world . . . might admire in him an example of blamelessness in life and every action, as well as of perfection in all his works ; insomuch that he might be considered by us a nature rather divine than human." t

The mask of a faun's head, sculptured by Michael Angelo in marble as an aniusement when a child, and which revealed his vocation, and led to his immediate admission into the academy of Lorenzo the Magnificent, is carefully preserved in the museum degl* Uffizi at Florence. "Your faun is old," the Duke had said to the young artist, " and you have left him all his teeth. Have you not noticed that old people always have some missing ?"

• Historian of painters and sculptors, you are now forgetful of

Fra Angelico, Masaccio, and Leonardo da Vinci I t Mrs. Jonathan Forster's translation. Vol. v. pp. 227 and 22S.

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Michael Angelo at once broke one of his faun's teeth, and scooped out the gum. Near' this youthful attempt are his great unfinished bas- relief of Mary, Jesus, and St John ; his Apollo, a mere rough-hewn block ; and* his Brutus, which is scarcely even that. Michael Angelo often set to work on a block of marble without any prepara- tion, without a sketch of a clay model. Sometimes he had not enough marble for his plan, or he cut it too deeply, and then, unable to realise his idea, he would leave the block but half-hewn.* But no amateur or artist will grumble at not seeing these excellent works finely finished ; for, as in a painter's sketch, they can here see the sculptor's first crude thought, and the secret of his mode of working is

• Beneath the Brutus, the following distich has been engraved : —

• • Dum Bruti effigiem sculptor de marmore ducit,

In mentem sceleris venit, et obstupuit"

(When the sculptor was carving the figure of Brutus in marble, he remembered his crime, and, in his stupor, he paused.)

The President De Brosses relates that one day 'Lord Sandwich was looking at the Brutus, and shocked at the blame of this great republican, he at once composed the following contradictory distich : —

• • Brutum efFecisset sculptor, sed mente recursat

Tanta viri virtus, sistit et obstupuit."

(The sculptor would have finished Brutus, but at the thought of the virtue of this great man, he suddenly stopped, discouraged.)

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revealed. Truly this secret is worthy of study, and it is easy to see to what perfection the artist could attain when he chose to work patiently, because the Drunken Bacchus, which is probably his most

Fig 44. — Ivy crowned Bacchus. (FIoi

delicate and highly finished work, is near at hand, instead of the passion, the stern pride of the Moses at Rome, the Bacchus is full of grace and tender- ness. Crowned with ivy and vine leaves, he is

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pressing grapes into a cup, from which a little satyr, wrapped in a goat's skin, is trying to drink unobserved. The smiling mouth, the sleepy eyes, the languid attitude, the apparent difficulty in remaining standing, all admirably express the effects of drunkenness.

Florence may count herself fortunate in having collected these productions of her illustrious son ; for we learn with dismay how many of Michael Angelo's works, besides his celebrated cartoon of the Pisan War, have perished and disappeared from the world, leaving no trace but their name. In 1492, a Colossal Hercules, sent to Charles VIII. of France ; in 149S, a Sleeping Cupid, sent to the Duke of Mantua; in 1501, a bronze David, ob- tained by a certain Florimond Robertet of Blois ; in 1507, the bronze statue of Pope Julius II., broken by the rebellious Bolognese ; then a picture of Leda, sold to Francis I. by the servant at Michael Angelo's studio, and burnt one hundred years afterwards by order of a confessor of the queen ; and lastly, the Marginal Dante, in which he had sketched the greater part of the figures and inci- dents of the Divina Commedia. All these form a very long and sad catalogue — a gloomy mortuary- table.

The chief of the works which Florence prides

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herself on possessing are not in the Museum of Florence, but in the sacristy of the old church di San Lorenzo, originally built in the fourth century, and consecrated by St. Ambrosius, but recon- structed in 1425, after Brunelleschi's designs. This splendid edifice, built by order of Clement VI L, is called the Medici Chapel.

It is a strange fact that Michael Angelo was working at this funereal chapel when he was called upon to defend republican Florence against the Medicis. Everything in it, even the altar, in front of which is the Virgin nursing the Infant Jesus, is from the hand of the great master, with the ex- ception of the statues of Saints Cosmo and Damian, b)r his pupils MontorsoH and Raffaello da Mon- telupo. On one side .is the Mausoleum of Giuliano Medici, in which the statue of the Duke is placed over the figures of the Day and of the Night ; on the other, the Mausoleum of Lorenzo Medici, Duke of Urbino, with whose statue are the Early Dawn and Evening. This statue, one of the master- pieces of modern sculpture, is famous under the name of Pensieroso, on account of the melancholy and thoughtful attitude in which Michael Angelo has represented this precocious tyrant. Of the four allegorical figures, equally gloomy, morose, and terrible, the Evening and Night are the most

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admired. To the latter Giam-Battista Strozzi addressed the following verses : —

La Notte che tu vedi in si dolci atti Dormire, fu da iin angelo scolpita In questo sasso ; e, perchfe dorme, ha vita ; Destala, se no'l credi, e parleratti.*

The Stern Michael Angelo made his statue answer in the following bitter epigram, a satire on his own age, and on many another : —

Grato m* h il sonno, e piu I'esser di sasso, Mentre che il danno e la vergogna dura ; Non veder, non sentir, m'^ gran ventura. Per6 non mi destar : deh ! parla basso. t

Rome, where Michael Angelo spent the second part of his long life, and for which he executed his great works in painting and architecture, has also inherited some of the fine productions of his chisel. The cathedral of Christendom, St. Peter's, possesses the celebrated Madonna della Pieta, sculptured by Michael Angelo when eighty-four years old, after the frescoes of the Sistine Chapel, before the erection of the cupola. And the church

• *^ Nighty whom you see sleeping so calmly, was sculptured in

this stone by an angel ; she sleeps, she lives. Awake her if you doubt, and she will speak to you.'*

t ** It is pleasant to me to sleep, and still more do I prefer to be of stone, in this age of the triumph of evil and shame. It is a great advantage to me to see nothing, to feel nothing. Therefore wake me not : ah ! speak low."

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of Minerva, which still retains the name of the heathen temple, contains the no less celebrated statue called the Christ of Michael Angelo ; an angry and avenging Christ, the repetition, in marble, of the thought, at least, embodied in that of the Last Judgment But we shall find a still more famous work if we ascend a steep hill, called in ancient Rome the Vicus Sceleratus — because Tullia is^said there to have crushed her father's body under the wheels of her chariot — and enter the old basilica of St. Peter in chains (San Pietro in Vincola), which has been restored several times since its foundation under Pope Leo the Great, but has always retained its primitive form. It contains the mausoleum of Julius II. and the Moses of Michael Angelo.

One word of preliminary explanation.

There were points of similarity in the genius and character of the two men, pope and artist, which tended both to unite and separate them. And the event proved this. Julius II. had hardly ascended the pontifical throne before he conceived the idea of perpetuating his memory by a magnificent mausoleum, and having chosen Michael Angelo to execute it, he summoned him from Florence for the purpose. Michael Angelo, who was then only twenty-nine years old, soon presented to

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•

the pope a plan of the most colossal tomb that modern art ever attempted to construct. It Was to be a combination of architecture and sculpture, a decorated edifice. Imagine an ex- tremely massive quadrangle, with niches in the sides, containing Victories, and in the angles terminal figures forming pilasters, on which the figures of captives were to be placed ; on this large basement a second narrower massive block, sur- rounded with colossal statues of prophets and sibyls, was to be added ; clnd that, in its turn, sur-^ mounted by a pyramidal mass, entirely covered with allegorical figures in bronze. Such was the composition of which engraving has preserved Michael Angelo's sketch. It would have been as large as the mausoleum of Augustus, which towered above all the buildings of heathen Rome. The artist began the work, but his disagreements with Julius II. soon ensued, and he fled to Florence, to Bologna, to Venice, and even thought of going to Constantinople, where he was invited by the Sultan Soliman, to erect a bridge between that town and the suburb of Pera. He did not return to the pope at Bologna until he was sent as Florentine ambassador by the Gonfalonier Soderini. After their reconciliation, the pope ordered him to make his statue in bronze, but it was broken by the

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Bolognese in a revolt, and made into a cannon called the Giulia.* It was long afterwards, when Paul III. commanded him to paint the fresco of the Last Judgmenty that an arrangement was entered into, at the suggestion of the pontiff, between Michael Angelo and the heirs of Julius II., which resulted in the reduction of the mausoleum to its actual proportions. Of the original plan, nothing was finished but one Victoryy now at Florence, two Captives^ in the Louvre, and one of the prophets, the Moses, an allegorical portrait of Julius II., forming part of his actual mausoleum, and entirely executed by Michael Angelo himself.t This colossal Moses is seated, holding the tables of the Law in his right hand, and stroking the long beard, which flows over his breast, with one finger. On his head, which is slightly turned to the left, are the two horns, ascribed to him by tradition, which, springing from his thick hair, exactly re- semble those of a young calf or goat. Perhaps Michael Angelo, like all his contemporary artists, was in love with ancient mythology, and wished

• It was when he was making the model of this statue, that

Michael Angelo said to the warrior pope : " Would it not be well, Holy Father, to put a book in the hand?" "Put a sword," answered JuUus ; ** I know nothing of letters."

t There were to have been four large figures : Active and Co«- tetnplative Life, St, Paul, and the Moses, (Vasari.)

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to give Moses the symbols of the god Pan, of the Great-All, which metaphorically represented all nature, embracing all creatures, and was at that time confounded with the Egyptian Osiris. Or he may have intended to produce a portrait of his regretted master, Savonarola, whose face somewhat resembled a goafs, and whose peculiar eyes were called occkj caprini by his contemporaries.

Many things have been criticised in this figure ; the head is said to be too small for the immense beard, the legs too long for the feet, the body thick, and the gaiters and flannel robe unsuitable to each other. Lastly, with more truth, it is urged that some of the details are scarcely worked out, hardly even rough-hewn. The last fault, if it be one, is common to nearly all Michael Angelo's works, for he cared no more for small effects in chiselling a statue than he did in painting a picture, or in sketching the plan of a building. It should also be remembered that the Moses is a colossal figure, intended to be seen at a certain height. But however much foundation there may be for these criticisms, this faulty Moses is none the less its author's masterpiece of sculpture, and probably also of all modern statuary. To find its equal it would be necessary to go back to antiquity, for I see nothing like it in the works of Donatello,

220 ITALIAN SCULPTURE.

Sansovino, Puget, or Canova. \ shall not, there- fore, pause to defend it from the charge of faults of detail, but remark, in my turn, that the anatomical drawing of the feet, hands, arms, and face, may be compared to that of the most perfect specimens left by the ancients. In speaking of Michael Angelo, I prefer to follow his mode of procedure in the arts ; and to say, that taken as a whole, his Moses is the grandest and most admirable emblem of strength, severity, and power, ever produced ; and that never have those various qualities which give authority, and constitute the superiority of one man over his fellows, been so fully expressed. His irresistible glance seems to be overawing a muti- nous people, and reducing them to submission at his feet. He is indeed the stem legislator of the Hebrews, armed with the terrible Law. I do not believe that, celebrated as they were in antiquity, the Jupiter OlympiuSj the Juno of Samos, or the Minervas of Athens, were more majestic, more fearful, or better calculated to inspire the populace with terror and religious awe. Vasari says of this statue : " So well, at a word, has the artist ren- dered the divinity which the Almighty had im- parted to the most holy countenance of that great lawgiver. At a word, the sculptor has completed his work in such a sort that Moses may be truly

ITALIAN SCULFTUBE. 221

affirmed more than ever to merit his name of the friend of God ; and to Michael Angelo the care of preparing his resurrection was intrusted. Nay, the Jews are to be seen every Saturday, or on their Sunday, hurrying ... to visit and worship this figure, not as a work of the human hand, but as something divine." (Mrs. Forster's translation, p. 249.)

We have already said that the Louvre may pride itself on possessing a work by this Titan of art. We allude to the two Captives which were to have been placed in the angles of the monument to Julius II. One, perhaps the more beautiful, is incomplete, like the monument itself. The head is scarcely chiselled, the neck hardly rough-hewn. Fortunately no sacrilegious hand has dared to finish the work of Michael Angelo. And who could complain at seeing his mode of working revealed to them, as in the Brutus of the Uffizi* Are not the features of the one Captive^ barely indicated as they are, as suggestive, indeed as full of admirable expression, as those of its highly finished com- panion } Is not every limb of both full of

• We can see, for instance, how in the first rough hewing of the

marble Michael Angelo tried to imitate the sinuous lines, the curves, the serpentine forms ^ as he himself called them, of which the human figure is always made up in every attitude and every variety of action.

222 ITALIAN JSCULPTUBE.

suffering and humiliation ; in the one borne with resignation, in the other with gloomy im- patience ? Rightly to admire these grand figures, we have only to remember what they are, or rather what they were to have been ; and before them we repeat the exclamation of the sculptor Falconnet : " I have seen Michael Angelo ; he is appalling!"

On the high altar of Notre Dame at Bruges, a celebrated Madonna is shown, said to be by Michael Angelo. In the north, where statuary is always poor, its chief material, marble, being wanting, this Madonna was sure to excite extra- ordinary admiration. It is indeed a very fine group, in a noble, lofty, and solemn style. The Virgin is seated, and, like a Byzantine Madonna, she is clothed to the throat, and her head is covered with a veil, but all the draperies are light and graceful- The Holy Child stands between her knees, as in Raphael's Madonna with the Goldfinch ; he is naked, his attitude easy, and the modelling of his flesh perfect. On the whole, I admit that the too often misapplied title of masterpiece may rightly be bestowed on this beautiful group. But is it by Michael Angelo ? Doubt is justifiable on this question, and I do not hesitate to doubt. When a fine piece of Italian sculpture arrives in

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Flanders, and is enthusiastically admired, it is naturally at once ascribed to the greatest Italian sculptor. But where is the historic proof ? Some tale, I know not what, is told of its capture, when on its way from one town of Italy to another, by an Algerian corsair, which in its turn was taken by a Dutch vessel. But this is only one of those vague traditions which may sanction a fable, but do not establish a truth. It undoubtedly requires more insight to recognise a sculptor's than a painter's touch, and to ascribe a piece of statuary to the right author with absolute certainty is very difficult But for this reason we are more at liberty to deny, or at least to doubt, that such a work is by such a sculptor. In this case, most decidedly, the chiselling is softer and more delicate, that is to say, less energetic and powerful, than Michael Angelo*s. If, however, this group were by the great Italian master, it would belong to his youth, to the time of the Bacchus of Florence, not to that of the Moses of Rome. But one material and palpable fact ought, I think, to settle the question. It is that neither the Virgin nor the child have any pupils in their eyes ; and I know that amongst all the great Florentine's works there is not one statue or bust without pupils. This seems to me decisive. The style of the group.

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although noble and dignified, is not very severe ; and this, together with the somewhat fastidious delicacy of many details, leads me to suppose that it does not belong to the epoch closed by Michael Angelo, but might be ascribed, for instance, to Donatello, Delia Robbia, or John of Bologna. It resembles still more the works of Sansovino, who was renowned for the lightness of his draperies, and the refinement of the heads of his women and children. But might not this Madonna of Bruges be the work of the Florentine Torregiano, or Torregiani, who left his own land out of jealousy of the success of Michael Angelo, and after wandering through France, Flanders, and England, finally died miserably in Spain ? Torregiano was called Michael Angelo's rival, and in a boyish quarrel he broke the future master's nose by a blow with his fist. This would be enough to lead tradition to ascribe his work to Michael Angelo himself.

At the same time that the great Florentine was living at Rome, and Sansovino at Venice, another native of Florence was rising into notice; and having left Italy, established himself at Fontaine- bleau, where he rendered the same services to French sculpture as Andrea del Sarto, Rosso, and Primaticcio had to painting. We allude to Ben-

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venuto Cellini (15CX) — 1570), who was a jeweller, an engraver on stone and metal, a founder, a chaser, and a sculptor. He struck the beautiful coins used by Clement VII. at Rome, and Alex- ander Medici at Florence, and wrote treatises on sculpture, jewellery, and the casting of metals, besides the curious Memoirs^ in which he relates his strange adventurous life. He left a group of Perseus cutting off the Medusa's head, at Florence, in front of the fine portico of Orcagna called the Loggie de' Lanzi; and in France he sculptured the Nymph of FontainebleaUy now in the Louvre. It is scarcely a group or a statue, but rather a high relief cast in bronze. A nude female of colossal size, with limbs of inordinate length, supports herself on the left arm in a semi-recumbent posi- tion, whilst the right is round the neck of a stag, the head of which, with its huge horns, projects beyond the rest of the group. Cellini was soon driven from the court of Francis I. by the scorn of the Duchesse D'Etampes, and this nymph of the woods, this huntress Diana, is the most important of the works produced by him during his sojourn there. It was placed in an arched frame, and intended to decorate the tympanum of the Porte Dor^e at Fontainebleau ; but Diana of Poitiers persuaded Henry II. to give it to her, and placed

Q

226 ITALIAN SCULPTURE.

it over the entrance of her chateau of Anet. Near this Nymph are two splendid chased vases in Florentine bronze, also attributed to Benvenuto Cellini, but there is no proof that he is their author: the material, style, and beauty of work- manship alone warrant the idea.

Ammanato, a worthy pupil of Sansovino, con- structed the inner court of the Pitti Palace, and sculptured the beautiful fountain, which bears his name, for the public garden — the colossal Neptune, drawn by four sea-horses. After him, Italian sculpture passed into the hands of a Neapolitan, Lorenzo Bernini ; and at the same time Italian painting, finally deserting the Bolognese, was most successfully practised by another native of Naples, Luca Giordano. The two great sisters, as Vasari calls them, simultaneously declined.

The Cavalier e Bernini (1598 — 1680), who was ostentatiously called the second Michael Angelo, was the arbiter of the taste of Europe, and the judge of all artistic matters in Italy for half a century, and under nine different popes. Louis XIV. summoned him to Paris in 1665, to advise nim about the restoration of the Louvre ; and we think that had Bernini lived when art was at its zenith, he might have been a great man ; but coming as he did, when the decadence had set in,

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he yielded to its influence, and instead of checking, he encouraged its progress. As an architect, he erected the pretentious circular piazza forming the approach to the cupola of St. Peter's, by the great Florentine. As a sculptor he executed the pulpit and canopy of the sovereign pontiff and the tomb of Urban VIII., with its two huge masculine- looking attendant figures, from whose breasts the milk of Justice and Charity flows upon the body of the dead pope. The last named is probably Bernini's best work. His style of sculpture somewhat resembled Rubens's painting, minus the colour.

Algardi was as full of affectation as Bernini of pretension, and he flourished about the same time, 1583 to 1654. As a sculptor he scarcely equalled Albano. Encouraged by these two chiefs of the decadence, and also by Luca Fa presto, depraved taste now sanctioned even frivolous productions. At Naples visitors are always taken to the San Severo chapel and expected to admire the sculp- tures which it contains. There we see a recumbent Christ under a sheet, through which the outline of the nose, shoulders, and knees may be discerned ; the statue of a woman, z^^di Modesty, because she is completely covered with a kind of damp, clinging garment ; and lastly, the allegorical personification

1^28 ITALIAN SCULPTURE.

of a human soul extricating itself from vice — ^that is to say, a sort of human fish trying to break the meshes of a marble net, in which, of course, the devil had entangled it. There may be a certain ease of workmanship in these strange productions of Antonio Corradini, even as there is dexterity of touch in the works of Van Loo and Boucher ; but for all that they evidently belong to a school still more inferior than that of Bernini — a degene- ration from his, in fact ; and their influence is so fatal to the cause of art, that we only allude to them for the sake of warning every one against even looking at them, and urging sensible men never to sanction the production of such monstrous anomalies, either by visiting or praising them. In them we have execution without style or taste, manual power without soul or spirit.

To find Italian sculpture once more rising to the position of a great art, and realising the ideal, we must pass on to Antonio Canova (1747 — 1822), who, like Giotto and Mantegna, rose from the position of a herdsman to that of an artist. In the room appropriated to bas-reliefs in the Academy of the Fine Arts at Venice is preserved the precious porphyry urn containing Canova's right hand ; his heart is in the church of the Frari^ and the rest of his body in the village of Possagno. Beneath

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this urn his chisel is suspended, and the following inscription engraved : —

Quod mutui amoris monumentum Idem glorise incitamentum sit.*

Canova only left one group, Dcedalus and Icarus^ to Venice, although he died there. It was one of his earliest productions, yet it fully revealed his powers. It formed part of the Barbarigo collection, now dispersed. We must look for Canova's works at Rome. In the church of the Holy Apostles (SS. Apostoli) we find the mausoleum of Clement XIV. ; in the basilica of St. Peter's, the tomb of Pius VI., that of the Stuarts, and the still more celebrated fnonumento di Rezzonico to Clement XIII. ; and lastly, in the Vatican, such of his sculptures as have received the perilous honour of being mixed with the most valuable relics of ancient Greece. These are, the Wrestlers, Damoxenus and Creugas^ which are very inferior to those of Florence — they are appropriately called the boxers, for they express nothing but clumsy brute force — and the statue of Perseus^ which Canova did not hesitate to undertake, although he was familiar with that by Benvenuto Cellini, and

• May this monument, the memorial of a mutual affection, be also

an incentive to glory.

t See the history of these pugilists in Pausanias. (Book xiii. chap. 40.)

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which received the signal honour of filling the place of the Apollo Belvedere when the latter was carried off to Paris by the French, The beautiful title of

Fig. 46.^The Perseus of Canova. (Rome.) Consolatrice was also given to it. The face of the Perseus resembles that of the Apollo, and this is a fault rather than a merit It is very delicately- finished, and slightly aflfected. The Medusa's head

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held in the hero's hand will not terrify any one, for it is that of a young and beautiful woman, with the serpents arranged in such a manner as to resemble the symmetrical locks of the Assyrians. Faithful to the Grecian type, and taking the antique Medusa of Munich for his model, Canova succeeded in com- bining moral deformity with physical beauty, and has given his Gorgon that expression of freezing disdain which pierces the soul, and may be fatal.

Canova shared the fate of his country and be- came a subject of Austria, and his chief works are to be found, not at Rome, but at Vienna. One of them, the mausoleum of Maria Christina of Austria, a daughter of Maria Theresa, and the wife of Duke Albert of Saxe-Teschen, is in the church of the Augustines, where are also to be seen the entire skeletons of Saints Clement and Victoria, in bro- cade garments, under glass cases — an edifying spectacle, no doubt, but not so attractive as a fine statue ! A funeral procession advances along an open pyramid, the shape of the great sepulchres of antiquity. Veiled Virtue carries an urn containing the ashes of the princess, preceded by weeping maidens typifying Innocence, and followed by Benevolence supporting an old man. On the threshold a weeping spirit, the symbol of the husband, left behind upon the earth, leans against

232

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a lion. Although this ostentatious tomb is some-^ what theatrical, and may almost be called heathen, it is undoubtedly a fine work, and the style and effect are alike grand. All these figures combine and harmonise well, they are admirably grouped,

and many of them — one of the young girls, and the old man supported by Benevolence, for instance — would be excellent statues if seen alone. On the whole, we think that the mausoleum of Maria Christina, which is the most important of Canova's

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monuments, is as likely to preserve his fame to future generations as any of the tombs which he erected under the vast dome of the Catholic metropolis.

Another of Canova's works, the colossal group of Theseus conqueror of the Minotaur^ is still more celebrated in the art world. For the worthy re- ception of this Italian guest a temple was con- structed in the Volksgarten (People's Garden) of Vienna, which was an exact copy, in size and shape, of the temple of Theseus at Athens ; the material alone is different ; plaster has taken the place of the white marble of Pentelicus. Canova's group, like the old statue of the demi-god, is worshipped in this temple, and its priests are a kind of policemen, who open the doors at promenade hours. Except for a Grecian helmet, Theseus is nude, and is raising his club, the weapon of the companion of Alcides, to despatch the monster whom he has just thrown down at his feet. This attitude is perhaps theatrical, the ordinary fault of Canova's large compositions, but the statue as a whole is a splendid study ; every limb, every muscle perfectly expresses strength in action. For my part, how- ever, I consider the finest part of the group to be the Minotaur — if such it may still be called, now that sculpture, sacrificing historic truth to beauty of form, has converted the son of Pasiphae, the

234 ITALIAN SOULPTUHK

man-bul!, into a man-horse, a centaur." His action under the weight of Theseus, who presses his throat

with the left arm and his stomach with one knee, is most happily rendered, and full of enet^. The

• It is possible, that in spite of Ihe name given to this famous

group, the sculptor intended lo represent not Thaeus staying the Minotaur, but Theseus killing Ihe Centaur Eurytion, who carried olT the beautiful Hippodamia at the wedding of Pirithous. It is ihe subject of one of the most va,luable monochrome drawings on marble found at Pompeii, and collected in the museum of Naples.

ITALIAN SCULPTURE. 235

head, flung back to the crupper, which is convul- sively struggling to raise the double body, the heaving chest, the legs bent under him and appa- rently broken, the exhausted arms, which only retain sufficient strength to seek a support upon the ground, all together form a splendid whole, which reminds us of the famous antique group of the Wrestlers, in which also the conqueror is ex- celled by the vanquished. In this part of the huge group, even the marble is more beautifully veined and of a closer grain. Suffering is as wonderfully rendered in the Minotaur as force in Theseus ; and if we must needs be critical, we may notice a decided resemblance between his head and that of the Laocoon, The features of Theseus, too, which express anger and scorn, are somewhat like those of the Pythian Apollo. The artist may have in- tended to render a sort of homage to the two great masterpieces of Grecian art in the Vatican, which had served him as models. I noticed one slight fact which proves how thoroughly the young Pos- sagno peasant studied the smallest archaeological details, and how well he knew how to turn his im- provised education to account. He has given his hero the crushed ears of the pancratiast athletes. It was this Theseus, in fact, who, when king of Athens, founded the lesser Panathenaea, in which

236 ITALIAN SCULPTURE.

gymnastic games were celebrated ; and, like many other illustrious Grecians, even after the heroic age, Pythagoras, Chrysippus, and even the divine Plato, for instance, he is supposed to have taken part in them personally.

Canova also erected another tomb at Florence, that of Alfieri, and was afterwards invited to Paris by Napoleon, and made a member of the Institute. There he left his charming statue of Repentant Magdalene, which has passed through so many different collections ; and one other work, the group of Zephyrus carrying off the sleeping Psyche to the mysterious abode of Cupid, which justly enjoys the exceptional honour of being the only piece of statuary by a foreigner in the French museum of sculpture in the Louvre. This charming, light, and airy group, reproduces all the charms of the tale of Apuleius as translated by La Fontaine. It worthily represents the herdsman transformed into a great artist ; so great, indeed, that no modern, not even Michael Angelo himself, succeeded better in imitating the beauty of form, the charm of expres- sion, and the delicate workmanship of the produc- tions of antiquity.

In i8is he undertook to restore to Italy those objects of art which were seized by France in the time of the exactions of the Empire, that they

ITALIAN SCULPTURE. 237

might adorn the capital of the continent. For this he has been condemned : but was Canova French or Italian ? Were not the treasures which he restored to his country by force first taken from it by force ? And if we blamed as much as we regret his mission, how could that affect the merit of his works ? Let us be as just to talent as to valour, even in our enemies.

Canova's was the reigning school of Italy until our own age, and is so still. It produced the Dane Thorwaldsen, of whom we shall presently speak, and the Florentine Bartolini, who a few years ago might have been called the only artist of Italy. To the lessons, example, and traditions of this school also, we owe all those rising sculptors who came into notice at the Universal Exhibition, Messrs. Dupr6, Vela, Argenti, Luccardi, Strazzi, etc., whose works, although somewhat feeble and affected, yet possess true grace. The delicacy of the execution is really marvellous ; the marble is made to accommodate itself to all the vagaries of fashion ; it is bent, plaited, and covered with laces and embroidery, like a textile fabric Italy produces many successful imitators of Canova, but, alas, not one disciple of Michael Angelo. Let her take heed : beauty there is, but no grandeur in such an imitation.

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CHAPTER III.

SPANISH SCULPTURE.

SCULPTURE did not occupy an equal or even a proportionate position to painting in Spain. We find scarcely any traces of the culture of this art, at least of its highest branch, statuary ; and no marble or bronze work equal to the canvasses of Velasquez, Murillo, or Ribera, has ever been pro- duced. The Arabs could teach the Spaniards nothing but architecture, as the Koran had pro- nounced an anathema on all the other arts of de- sign, and even on music. It is true that the Arabs of Spain submitted to these restrictions less scru- pulously than their Syrian brethren ; but the lions of the Alhambra, although merely fanciful creatures, chimeras, monsters, etc., in reality constituted an heretical offence. Neither the Mussulmans of Africa ^nor of Andalusia were ever allowed to make any but clumsy imitations of certain noxious animals, such as rats, scorpions, and serpents, which were to

SPANISH SCULPTURE, 239

serve as talismans, amulets, and scarecrows, to drive the latter from dwelling-houses and mosques ; so that the Spaniards could receive no lessons from that quarter.

A little later, when the Florentine, Gherardo Stamina, and the Fleming, Pierre de Champagne (Pietro Campaiia), introduced the first examples of the art of painting into Spain, other foreigners brought models of that of sculpture. Among thepi was Filippo Vigarni, called Philippe de Bourgogne, doubtless because he came from the court of dukes Philippe-le-Hardi or Jean-sans-Peur, for he was more likely a Fleming than a Burgundian. He executed some important works in the cathedrals of Burgos and Toledo, but principally ornamented ones, such as pulpits and choir seats. Torregiano, the rival of Michael Angelo in Italy, already men- tioned, was another of these artists. We know that after his quarrel with the illustrious pensioner of Lorenzo Medici, he fled to Florence, enlisted as a soldier, gained the rank of ensign, again became an artist, and travelled to Flanders, England, and lastly to Spain, where he penetrated as far as Andalusia. In 1520 he made a celebrated statue of St Jeromey for the convent of Buenavista, near Seville, which Goya ranks higher even than the Moses of Michael Angelo ; and at Seville, also, he executed another

240 SPANISH SCULP TUBE.

statue, the Madonna holding the Infant Jesus, for a duke of Arcos, who, for some unknown reason, insulted the sculptor by paying for it in maravedis, which were carried in sacks by two men. Torre- giano at first thought he had received an immense sum ; but when he discovered that all this heap of copper money was not worth thirty gold ducats, he took a hammer and broke his statue. Incensed at this offence against a grandee of Spain, the duke accused the artist before the Inquisition of impiety, and the unfortunate Torregiano starved himself to death in his prison (1522). One of the hands of the broken Virgin, which is very beautiful, is pre- served at Seville. Resting on one of her breasts, it is called the mano de la teta, and has been repro- duced many times by copies or casts.

Of the Spanish artists who went to Italy, in the reigns of Ferdinand of Aragon and Charies V., to take lessons in all the arts, only two, Alonzo Berruguete and Jaspar Becerra, learnt and prac- tised the three arts of design. The former (1480— 1 561) was taught by Michael Angelo himself, and was invited to Rome by Pope Julius II., to assist his illustrious master in his works of every kind. He returned to his native land in 1520, rich in experience and talent, and was distinguished by Charles V., who nominated him his painter and

SPANISH SCULPTURE. 241

sculptor de cdmara, and later, to honour him still further, appointed him to the office of valet de ckambre. After this, Berruguete was intrusted with some important commissions at Valladolid, Toledo, and Granada. At Toledo he sculptured the throne of the Primate-Archbishop, and executed the Transfiguration of Our Saviour^ in marble. He is said to have given the emperor the design for the unfortunate and pretentious palace which Charles V. had erected in the very heart of the Alhambra, destroying part of the delicate moresque structures to make room for it ; but this is a mis- take : the architect of the unfinished palace was Pedro de Machuca. Berruguete only worked at the details and ornamentation, in which he excelled ; and even now, in spite of the barbarous mutilations to which they have been and still are subjected, it is easy to see that they were of the finest taste and the most exquisite delicacy. They are chiefly bas-reliefs executed on plaques of marble of a greyish violet colour, very hard to work, but very- pleasant to look at ; and they do great credit to Berruguete, who was always more successful as a sculptor than as a painter or an architect. The subjects are the triumphs of Charles V., who chose to be represented as a nude Hercules, with the club and the skin of the Nemaean lion. Later we

R

242 SPANISH SCULPTURE.

see Louis XIV. as Apollo, with the rays and the lyre. The emperor, however, was not content with the motto of the demi-god. The Ne plus ultra of the columns of Abila and Calpe seemed too modest for him, and he changed it into Plus oultre^ which was written in the French of the day on all the decorations of his palace, and under his successors became the Plus ultra of the coat of arms of that monarchy on which the sun never sets.

Gaspar Becerra (i 520 — 1 570), who is very favour- ably mentioned by Vasari as the author of the drawings in a book on anatomy, published at Rome in 1554 by Doctor Juan de Valverde, and of two anatomical statues highly esteemed in the schools, had scarcely returned to Spain when Philip II. did for him what Charles V. did for Berruguete : he intrusted him with several works in the old Alcazar at Madrid, and the new Pardo palace, and to mark his royal approval, nominated him his sculptor in 1562, and his painter in 1563, Like Berruguete, Becerra was a greater sculptor than painter. Cean Bermudez does not hesitate to say that in this par- ticular he excelled all the Spanish artists who pre- ceded him, and that he was surpassed by none of those who succeeded him. His masterpiece is said to be a statue of Our Lady of Solitude (Nutstrdi, Sefiora de la Soledad), which was ordered by the

SPANISH SCULPTURE. 243

Infanta Dona Isabella de la Paz, daughter of Philip II., and placed in the chapel of the convent of the Brothers Minimes * at Madrid. Many miraculous tales were told of this statue and col- lected by the monk, Fray Antonio de Arcos, in a book published expressly in 1640; but confining our criticism to its artistic excellence alone, it is impossible to deny that this statue, in which tenderness, suffering, and resignation are all vividly expressed, is a work worthy of the greatest names in the most famous centuries.

To the age of Philip II. and Charles V. belong also the two celebrated tombs erected in the reign of the emperor and by his orders in the old chapel royal (capilla real) of the cathedral of Granada. In one repose the Catholic sovereigns, Isabella of Castille and Ferdinand of Aragon, whose marriage united the entire Peninsula in one monarchy, from which Portugal was subsequently again separated ; in the other, their daughter, Juana la Loca (Joanna the Crazy), and her husband, Philip the Handsome, of Austria, father and mother of Charles V., to whom their combined inheritance gave the empire of Germany, with, the Iberian kingdom and the Indies. These tombs are both sculptured in white, marble, and on each are statues of the famous pair

• Religious order of St. Francis de Paula. — (Tr.)

244 SPANISH SCULPTURE.

whose royal dust they inclose. The first is a solid socle or pedestal, the enlarged base of which gives it an appearance of strength and solidity, whilst the other is finer, more delicate, and elaborate, so that the styles of the two tombs correspond with the character of their respective tenants, who would seem to be resting on them, as beds of state, for the last time. Looking at these fine tombs from an artistic point of view, it is impossible to avoid a mental comparison with those of Charles the Bold and Mary of Burgundy in Notre Dame at Bruges, and again with those of the dukes of Burgundy, Philip the Hardy and John the Fearless, which were transferred from the old Carthusian convent of Dijon to the museum. It would be in- teresting to draw a parallel between these six tombs, French, Flemish, and Spanish, made for princes of the same family, in the course of a century and a half. For my part, I certainly prefer those at Granada to those at Bruges ; and those at Dijon, which are the most ancient, to the tombs at Granada. For a long time the last-named enjoyed the advantage of standing in a vast and beautiful chapel, the walls, pavement, and roof of which were entirely com- posed of black stone, the pilasters, voussoirs, and pendentives being marked out in fine gold lines, the white tombs alone standing out from the dark

SPANISH BCULPTUBE. 245

and solemn surroundings. The canons, however, considered the chapel royal too gloomy, and had it whitewashed from top to bottom. The tombs, pavement, roof, and walls are now all of one colour, all equally bright, and in the universal whiteness nothing stands out but the black cassocks of the clergy.

At Granada another Spanish artist was born, who, like Berruguete and Becerra, has been com- pared to Michael Angel o, because he cultivated the three arts of design. His name was Alonzo Cano (1601 — 1617). His father was a common carpenter, who made an art of his trade, and was a joiner {ensamblador) of those huge decorated altars which we call retables. When Alonzo Cano went •to Seville and took up his abode amongst the masters who founded the school of this Athens of Andalusia, he made up his mind to do something more than learn to put a retable together like his father; in fact, to compose one entirely himself, with its columns, statues, and pictures ; to be at once its architect, sculptor, and painter. This was how he became a threefold artist. . He took lessons in sculpture from a certain Juan Martinez Montaiies, but at once departed from his master's style ; and as all his works are remarkable for a simplicity of attitude, a nobility of form, and a good taste in

246 SPANISH SCULPTURE.

arrangement unknown before him, we must con- clude that he studied in preference the few statues and Greek busts which were then at Seville, in the palace of the Dukes of Alcala, at least if we sup- pose that he mastered the antique without having seen Italy.

About 1635, Alonzo Cano erected the high altar of the church of Lebrija, which is one of the most beautiful works of the kind. The statue of the Virgin holding the Holy Child, which occupies the central niche of the retabUy is especially admirable. His other sculptures, nearly all in wood, are dis- tributed in different churches at Seville, Cordova, Granada, and Madrid, where some of them are still proudly shown. Alonzo Cano combined a fastidious taste with a very hot temper. It is related of him, that being at the point of death, he threw a crucifix which was offered to his lips in the face of the officiating priest, because he thought it clumsily carved, and died embracing a plain wooden cross.

It may be said that the art of statuary became extinct in Spain on the death of Alonzo Cano. Its cultivation was neglected, the carving, even of simple wooden ornaments, was discontinued, and soon no one could be found able to set up a church retable. The two great sisters had expired to-

SPANISH SCULP TUBE. 247

gether. At the same time that Goya made his unexpected appearance as a painter, a young sculptor, who had doubtless just returned from Italy or France, suddenly produced the justly famous group of Daoiz and Velarde (the two chief victims of the 2nd of May, 1808), which has been kept ever since in the Museo del Rey. Antonio Sola, the author of this group, died before he attained maturity. No one took up his chisel, at least with any success, and at the Universal Exhibition not a single Spanish work obtained any distinction in the open competition of the sculptors of every nation.

There is, however, a kind of sculpture in Spain which at least deserves to be mentioned. We allude to the little figures in coloured paste, manufactured at Malaga, Granada, and Valencia. This style, though small, is pleasing, and it has been practised by some true artists. In one of the rooms of the Academy of San Fernando at Madrid, for instance, there is a long series of these little figures, rather larger than usual, being about a quarter the size of life, which are of perfect work- manship. They are divided into fifty or sixty groups, representing different incidents of the Massacre of the Innocents ; and their author, Juan Gin^s of Valencia, flourished in the first half of the

248 SPANISH SCULPTURE.

present century. The details of these groups are of an infinite variety ; the execution is strangely and wonderfully powerful ; and if fliey have a fault, it is that they are too exactly copied from nature, as the colours on them make them look like wax figures. They prove, however, that Spanish sculpture might have kept pace with the progress of painting, had it not been so entirely neglected after Alonzo Cano produced his beautiful works.

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CHAPTER IV.

GERMAN SCULPTURE.

SCULPTURE was cultivated even less in Germany than in Spain during the Middle Ages. Indeed we may assert, almost uncon- ditionally, that not a single piece of statuary was contributed to the common stock by a German artist until the present century. From the banks of the Rhine to those of the Niemen we shall find no works of the chisel but a few decorations of no particular style in the old Gothic cathedrals. It is but a popular legend which attributes the delicate stone carvings, which adorn the tower of the won- derful cathedral of Strasburg, erected by Erwin of Steinbach, to his daughter Sabina ; and although history has preserved the names of some architects of the same age, such as Puchspaum, author of the Saint Stephen of Vienna, I know of no other sculptor besides this daughter of Erwin of Baden. It was different in the time of the Renaissance.

2cO GERMAN SCULPTURE.

Sculptors from Germany then practised their art even in Italy, for Vasari says explicitly : " Nicolas of Pisa surpassed the Germans who worked with him." But these modest artists, simple artisans, did not put their names to their works, so that the Calvary of Spires and the copper Baptistery of Saint Sebald at Nuremberg, are by unknown authors. We know, however, that the beautiful fountain of Nuremberg, erected rather later, is by Sebald Schuffer, and that the long bas-reliefs of the Passion in the same town are the work of Hans Decker and Adam Krafft At Nuremberg, too, is the beautiful tomb of St. Sebald, which has justly established the fame of Peter Vischer. This tomb combines a number of figures of saints, apostles, and angels, with many others which belong not to Christianity but to universal history. "At the foot of St. Sebald's tomb," says Woltmann, " Vischer has grouped the heroes of Judaism and of heathen antiquity ; children play with lions or are cradled in the calyx of flowers ; a host of sirens, tritons, and satyrs, the entire ancient mythology, defile before our eyes. The whole universe ad- vances to render praise to the Saviour." Peter Vischer left his own portrait in the dress of a work- man amongst these figures ; and it must be remem- bered that he lived very near the time of Albert

GERMAN SCULPTURE. 251

Diirer, so that he does not belong even to the Renaissance, but to the golden age of German art. In the room leading to that devoted to French statuary in the museum of modern sculpture in the Louvre, which might appropriately be called the foreign room, on account of the variety of objects it contains, a few small speci- mens of German plastic art of the fifteenth to the sixteenth century have been collected. Can they be called sculpture } I think not, for they do not include one statue, one high relief, or one piece of large proportions and grand style. All are little figures in very low relief Neither marble nor bronze are used, but materials not employed else- where. They are rather carvings than sculptures, and not one is accompanied by its author's name. The following are hung on the walls in the embra- sures of the windows : a Descent from the Cross y in yellow copper ; the Triumph of Maximilian^ deli- cately and carefully carved in wood ; the Repose in Egypty after Albert Diirer, another tedious work, cut in the hard calcareous stone called hone-stone ; some armorial bearings slightly incised on the same hard stone, the relief being obtained by the use of aquafortis, and afterwards coloured. This was a revival of the old process which led to the discovery of lithography.

252 GERMAN SCULPTURE.

It was the same during the age of the three schools of German painting at Nuremberg, Augs- burg, and Dresden, represented by Albert Diirer, Holbein, and Lucas Kranach. Not a single sculptor arose capable of competing with these great masters, and if we wish to find a piece of sculpture worthy to be compared to their canvases, we must turn to one of themselves, who, like the great artists of Italy, aspired to becoming a universal artist. Albert Diirer executed sculptures in wood and in ivory, and such are the grandeur of style and skill of workmanship, that they may be con- sidered true works of art in spite of the unsuitable- iiess of the material employed. In the small museum at Carlsruhe, for instance, there is a little ivory group in high and low relief of three nude females, which might be called the Three Graces, only one of them is a dignified matron, and on the ground a fourth woman, not so well preserved, is distinguishable, who is apparently taking part in a round dance. The figures are not only correctly proportioned, they are so full of graceful and pleas- ing beauty, that we are not surprised to discover the celebrated monogram— cut in relief also, so that forgery is impossible — so often traced on austere paintings and powerful engravings. Here Albert Diirer has proved that vigour was not the only

GERMAN SCULPTURE. 253

characteristic of his masculine genius. With the graver or brush in hand he was Dorian, ivory made him Ionian. The name it bears, the curiosity it awakens, and the admiration which it ought to inspire, combine to render this group of inestimable value.

To understand the sudden decline of the two great sisters in Germany, we have only to remember that there the Protestant religion, less showy than the Catholic, checked the progress of the arts, whilst the terrible Thirty Years PF^r (1618—1648), with its attendant ravages and desolation, soon followed to complete their ruin and deal their death- blow. In speaking of German sculpture, as of painting, we must therefore pass over the entire interval between the three schools already men- tioned, which became extinct with their founders, and the renaissance attempted at the beginning of the present century by Overbeck, Cornelius, and their followers.

A marble group of importance, and worthy of the notice of visitors for many reasons, was placed among the plaster casts of celebrated ancient and modern statues at Frankfort-on-the-Main, by one of richest bankers of that commercial city, in which the cradle of the Rothschild family may still be seen in the Judengasse (Jews' Street). We allude

254 GERMAN SCULPTURE.

lo Ariadne on the Panther, signed, Dannecker, of Stuttgart, 1814. This Ariadne is very celebrated, at least on the borders of the Rhine, from Mann- heim to Coblentz. The inhabitants of Frankfort> pride themselves on its possession, and have treated

Fig. 49.— Ariadne on the Panlber. By Dannecker. < Frankfort-on -the - M dn. )

it as the Neapolitans did the great mosaic of Pom- peii, reproducing it, as a national glory, in bronze, plaster, ivory, and even in stag's horn. It is a fine work, certainly, but I think it far beneath its repu-

GERMAN SCULPTURE, 255

tation. T\\Q Ariadne — which appears to be an imi- tation of an antique fresco, Nereis carried by a Monster — is stretched at full length on the back of fi panther, or, rather, chimera, for the mythological animal which supports her is not a known living creature. Her attitude is graceful and pleasing, although slightly distorted. The upper part of the figure of the beloved of Bacchus — not yet deserted, but triumphant — is less beautiful than the lower limbs. The legs are very fine, both in design and execution; the torso is also very good, but not equal to the legs ; and the head appears to me the feeblest part of the group. Ariadne is guilty of the vulgar gesture called turning up the nose ; her forehead is narrow, her chin broad. The artist evidently intended to give her the antique shape, the Greek type of face ; but he has only succeeded in producing a cold and clumsy imitation. The studied style of coiffure is a failure also ; it is too modern, too coquettish, nor is the execution re- markably delicate. We need not go back to the great age of the Donatellos and Michael Angelos for comparisons : we find Dannecker's A riadne far surpassed by the Magdalene and Terpsichore of his immediate predecessor, Canova, and it is excelled by many later works bearing the names of Rauch, Schadow, Schwanthaler, Rietschel Kiss Drake,

266 GEBMAN SCULPTURE.

Begas, etc. Nevertheless its fame is justifiable, and easily explained. If I were to be asked to state its chief and most indisputable merit, I should answer: Its date, 1814. After the interminable wars of the Empire, during which all the arts lay dormant, Germany greeted their revival in this Ariadne with as much joy and pride as peace itself. It was the glory of the artist, and is still the honour of his work to have inaugurated this renais- sance.

The Belvedere of Vienna possesses one of the best productions of this German revival, the Jason carrying away the Golden Fleece, by Joseph Kaesch- mann, executed at Rome in 1829, in the more graceful than powerful style of the Canovas and Thorwaldsens. Amongst the monstrosities surr rounding it, this Jason appears an incomparable masterpiece.

At the same time, but at Berlin, Christian Ranch (1777 — 1857) not only opened a studio, he founded a school. The work which placed him at once at the head of all the sculptors of Germany, is the tomb at Charlottenburg, of Louisa, called the beau- tiful queen, wife of Frederick William III., and mother of the present king and his predecessor. Ranch represented her reposing on her tomb, and he made another statue of her on foot for Potsdam.

!■ ig SO — Bronze monument erected lo the memory of Frederick the Great B/ Christian Rauch (Berhn )

QEBMAN SCULPTURE, 257

This queen was his benefactress ; she removed him from the obscurity of the palace, and sent him to Rome, where he made rapid progress in his art under the enlightened guidance of the learned William von Humboldt. On his return to Prussia, Rauch devoted a long life to the production of a number of great works, mostly portraits. The best of these numerous statues and busts are, the bronze statues of Generals Scharnorst, Bulow, Yorck, Bliicher, of King Maximilian of Bavaria at Munich, of Luther at Wittemberg, of Albert Diirer at Nuremberg, and six marble Victories in the Wal- halla, etc. But the chief work of his whole life was the magnificent bronze monument erected to the memory of Frederick the Great, in 185 1, in the grand square (Unter den Linden) of Berlin. The base of the pedestal, which is twenty-five feet high, is surrounded by the chief characters of Frederick's reign, including men of letters, such as Kant and Lessing, as well as warriors, like Ziethen and the Prince of Anhalt-Dessau ; whilst the king himself, on horseback, seems to tower above the city which owes its pre-eminence to him, and over the whole of that mighty monarchy of which he was the true founder.

We said that Christian Rauch founded a school : it still exists, carried on by his pupils, amongst

S

268 GESMAN SCULPTURE.

whom Augustus Kiss and Frederic Drake are especially distinguished. The latter is the author of the charming high-reliefs which embellish the pedestal of the statue of Frederick William III. in

Fig. SI.— The Amazon, by Aug. Kiss. (Berlin.)

the Thiergarten of Berlin, and the former of the Amazon on horseback attacked by a lioness, placed in front of the peristyle of the museum. This bronze group is splendid, full of action and life.

GERMAN SCULPTURE. 2SJ)

The warrior- maiden of the Thermodon, excited by anger rather than by terror the queen of the desert, clinging to the horse s neck with teeth and claws ; the horse quivenng beneath her horrible embrace, are all most powerfully rendered, and

Fig. 51. — Goethe and Schiller.

form an admirable whole. We are tempted to address the horse as the Greek poet did that of Lysippus: "What a grand head! what flames arc emitted from his nostrils ! If the rider touch him

260 GERMAN SCULPTURE.

with his heels, he will carry him onwards, for the bronze lives." (Grec. Anthol.) I venture, however, to find one fault with this beautiful statue. I do not 'approve of the rough locks worn by the heroine beneath her Phrygian cap. They surround her face with a kind of aureola, which the material renders stiff and heavy, and they give her the appearance of a Gorgon with the headdress of ser- pents. Unfortunately an early death prevented Kiss from making a companion statue to his Amazon.

After the Prussian Rauch, Ernest Rietschel, a Saxon (1804— 1 86 1 ), took the lead in German sculpture. Amongst others, the following works are ascribed to him : a fine group of the Madonna adoring her Dead Son^ which the Italians called a Pieta ; the marble statues of the four great sculp- tors of Greece, placed in the fa9ade of the new museum of Dresden ; and the beautiful bronze group of Goethe and Schiller, which was cast at Munich, in 1857, by Herr Miiller, and now adorns the Theater- platz at Weimar. Whilst preserving the appro- priate character of each of the illustrious friends, Rietschel has endeavoured to express the warm and tender affection which united them till death, and which nothing, not even their success and fame, could alter. The great minds of both poets were above jealousy.

GERMAN SCULPTURE. 261

The reputation of German sculpture is worthily sustained in our own day by Herr Frederick Drake, who gained a valuable prize at the Universal Ex- hibition, and by Herr Reinhold Begas, who would certainly have been successful had he competed.

We will now speak of the Dane Thorwaldsen (Albert Bartholomew, 1770 — 1844), as we cannot devote a chapter to one man. He was the con- temporary and rival of Canova, and they are justly classed together as the two great sculptors of the period, including the end of the last century and the beginning of the present. Educated in Italy, whither he was enabled to go by a drawing prize awarded to him, studying the same models as Canova, with the same opinions on the practice of their art, and forming himself after the same style, the Danish artist necessarily resembled the Venetian. Thorwaldsen, also, counteracted the influence of Michael Angelo on Italian art, pre- ferring, like Canova, grace to power, and delicacy of execution to boldness and originality of thought, at the same time avoiding, like his rival, the affec- tation of Bernini. When still young, he became known by a colossal statue of Jason bringing home the Golden Fleece, Many others followed this first production : a colossal Mars, which at once became famous ; an Adonis, which Canova himself called

262 GERMAN SCULPTURE.

a masterpiece ; the Graces, the Muses, Venus, Apollo, Mercury; then a Madonna for Naples, Christ and the Twelve Apostles for the cathedral of Copenhagen, the equestrian statue of Poniatowski at Warsaw, that of Gutenberg at Mayence, etc Thorwaldsen was as successful with bas-reliefs as with works in full relief. A great many by him have been reproduced in casts or engravings, and

^■E- S3- — Entrance of Alexander into Babylon, by Thorwaldsen. the most remarkable is the long series repre- senting the Entrance of Alexander into Babylon, which was ordered by Napoleon, and now embel- lishes the great hall of the palace of Christiansboig in Denmark, Speaking of it, a biographer of the artist says : " It is perhaps the most admirable masterpiece produced by art since the ever glorious age of Grecian sculpture." When old and wealthy>

GERMAN SCULPTURE, 263

Thorwaldsen devoted part of his large fortune to the foundation of a museum at Copenhagen. This building bears his name, and contains a considerable number of the diverse works which rendered him illustrious.

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CHAPTER V.

FLEMISH SCULPTURE.

WE gave the name of the Painting of the Low Countries to the sister schools of Flanders and Holland, looking upon them as two manifestations of one grand style. It would be useless, however, to try and find a common title for the two schools of sculpture, which was but little and very indifferently cultivated in Flanders, and not at all in Holland. Possessing no marble quarries, no copper-mines, not even stone, and drawing her very timber supplies from abroad, Holland appears from the first to have renounced an art for which nature had denied her the materials. No sculptor rivalled Lucas van Leyden, Rembrandt, and Paul Potter, nor were there any statuettes or carvings equal to the porcelain of the Chevalier Van der Werff. The bronze or marble statues in the public squares, museums, or town-halls of certain Dutch towns, are the work of foreign artists, so that we have only to treat of Flemish sculpture.

FLEMISH SCULPTURE, 265

It IS at Bruges, the town rendered illustrious by Hemling and the brothers Van Eyck, that we find not merely the best but the only proofs that the art of sculpture was practised in Flanders at the same time as that of painting. Whilst Jan Van Eyck was inventing and teaching the process of oil- painting, some artist fellow-countrymen were work- ing in wood, marble, and bronze. On entering the church of Notre Damey the visitor is at once con- ducted to the celebrated tombs of Charles the Bold and his daughter, Mary of Burgundy, from which the movable planking is lifted with great care and ceremony. These two tombs are simply black marble slabs, on which repose effigies in gilt copper. Charles is in warlike costume, wearing a beautifully chased suit of armour, the ducal crown, and the badge of the Golden Fleece — an order of chivalry founded at Bruges in 1429 by his father, Philip the Good, the collation of the insignia of which has been divided between the king of Spain and the emperor of Austria since the death of Charles V. The duke's helmet and gauntlets lie beside him, and his feet rest on a lion. Round the frieze are arranged the coats of arms of his different domi- nions ; on the sides of the slab, those of his con- temporary sovereigns, of the emperor, kings, dukes, counts, crowned prelates, etc., and on the surface is

266 FLEMISH SCUBPTUBE.

engraved the motto of this enterprising and per- severing prince, ^e Vay ampris^ bien en aviengne. It would have been well to inscribe on his tomb the words pronounced by Duke Ren6 of Lorraine when the corpse of Charles was found after the battle of Nancy : Voire dme ait Dieu, beau cousin^ car vous avez fait moult maux et douleurs. The head of Mary of Burgundy rests on a large cushion, and her feet on two small lapdogs. Her statue is chiefly remarkable for the delicate carving of the draperies and clothes. Mary died, as we know, at twenty-five, from a fall from her horse, and her tomb, made several years before that of her father, is the better of the two. The branches of the trees in copper, and the little angels of the same metal which support the armorial bearings — all the oma* ments, in fact — are of the most delicate execution. But although this tomb of Mary of Burgundy may surpass those of her son, Philip the Good, and of her daughter-in-law, Joanna the Crazy, which we noticed in the cathedral of Granada, it is by no means equal to those of her ancestors, John the Fearless and Philip the Hardy, Dukes of Burgundy, now in the museum of Dijon. All the details of these Lilliputian buildings, the pointed archfes three feet high, the cloisters, in which pace figures fifteen inches long, the pinnacles, the little angels,

FLEMISH SCULPTURE, 267

the marble and alabaster lacework, are remarkable, not only for exquisite finish and perfection of work- manship, but also for elegance of design, harmony of proportions, and suitable arrangements. The statuettes of the mourners, that is, of the praying monks and weeping officers of the palace, are really wonderful. There are eighty small figures, each of which taken alone is a little masterpiece, and seen together, their beauty and excellence are enhanced by contrast. The attitudes, of extra- ordinary variety, are all natural, the expressions all true and full of feeling, whilst the style of the heads, the fall of the draperies, and the delicacy of the execution, surpass all that we should have ex- pected from the age in which they were produced. These tombs, the details of which will bear com- parison with the bas-reliefs of Ghiberti and of Jean Goujon, may well be considered the most precious relics of the period immediately preceding the great Renaissance.

I mention them here because they are connected with Flemish art. The first named, that of Philip the Hardy, finished in 1404, is the work of three Flemish artists, Claux Sluter, assisted by his nephew, Claux de Vousonne, and by Jacques de Baerz, all three image-makers to the duke of Bur- gundy. The tomb of John the Fearless was erected

268 FLEMISH SCULPTURE,

forty years later by a Spanish artist, Juan de la Huerta, a native of Daroca in Aragon, who was aided by two Burgundian artisans, Jehan de Drogues and Antoine Lemouturier. I could not find out at Bruges who were the authors of the tombs of Charles and Mary ; their names are probably for- gotten there now.

We must not leave Bruges without visiting the Palais de Justice. In the room in which the juries deliberate is the famous chimneypiece of carved and sculptured wood, of which the cast is in the Louvre. There is a legend connected with this chimneypiece. It is said that a certain Hermann Glosencamp, condemned to death for I know not what misdeed, asked permission to produce one last specimen of his handicraft. He was a wood-carver. With the aid of his daughter he undertook this famous mantelpiece, which saved him from the gallows, and gained his full pardon. The statues which embellish it are nearly the size of life. In the centre is Charles V., on foot and in armour, holding a naked sword in one hand and the globe in the other. On the right are his great- grandfather, Charles the Bold, and Margaret of England, his third wife ; on the left, his grand- parents, Mary of Burgundy and Maximilian of Austria. Spirits, Cupids, armorial bearings, and

FLEMISH SCULPTURE. 269

different ornaments fill up the spaces between these five statues, and complete the general decoration above the frieze of the chimneypiece, which latter represents the history of Susannah in very low alabaster bas-reliefs, and is by a certain Guyot de Beaugrant. It would be difficult to excel the good taste of the arrangements and the beauty of the workmanship of this masterpiece. No artist, even to save his head, could have done better than Hermann Glosencamp. I am careful not to say could do better, for the art of sculpturing in wood, the art of Germany as well as of Spain, of the North as well as of the South, is almost lost ; and when we look at the fine works it has produced, our regret is increased that it should have been so completely abandoned.

Between this age and the beginning of our own I find no other Flemish work to mention worthy of being classed amongst the wonders of sculpture, and Rubens, Vandyck, and Teniers had no sculp- tors to rival them more than Rembrandt. In our own day Messrs. Gallait, Leys, and others, are con- sidered the renovators of painting, as these artists were formerly ; and with them we must class Messrs. Geefs, Fiers, Sopers, and Wiener, who are equally eminent and successful revivers of sculpture.

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CHAPTER VI.

ENGLISH SCULPTURE.

THE first thing we see when we enter the British Museum, to visit the basalt and por- phyry images of Egypt, the alabaster slabs of Assyria, and the marbles of Halicarnassus and the Parthenon, is the pediment of the modern building, which contains from twelve to fifteen allegorical figures, the work of the most celebrated sculptor of England, Sir Richard Westmacott. Taken separately, these marble statues are not without a certain merit, for they are finely and carefully executed ; more so, indeed, than the point of view requires, as they can only be seen from below and at a distance. But as a whole they are wanting in harmony, grace, and dignity, and a more striking and unpardonable defect is the pretension of the subject they represent — the Progress of Civilization. If the English had chosen this subject for the chief entrance of the docks of London, the naval arsenal

ENGLISH SCULPTURE. 27X

at Woolwich, the observatory of Greenwich, or the northern railway, nothing could have been more suitable, for it is in these places that they can prove the superiority of the present over the past, and the continuous progress of mankind in theo- retical and practical science ; but in the arts, talent is an individual gift — an artist cannot trans- mit his talent at his death any more than his soul. And does modern London hope to have excelled ancient Greece ? A strange mode surely of proving the progress of civilization, to place English and Grecian art in juxtaposition — to challenge com- parison between the brick architectuire of Sir Robert Smirke and the marble buildings of Ictinus and Callicrates — between this tympanum by Sir Richard Westmacott and the pediments of Pheidias! In my brief review, in a former work, of the richest collections in London, including the national museum, my readers were doubtless surprised not to find a word on sculpture. But what can be said "i ** Where there is nothing," says the popular proverb, " the king loses his rights," and so does criticism. Except for an inferior marble statue of the painter, David Wilkie, the National Gallery con- tains as yet nothing but pictures ; and I have met with no single work worth mentioning by a native sculptor in any public or private collection or

272 ENGLISH SCULPTUBE.

drawing-room. It is the same in the public gardens, parks, and squares. Could I write a description of the bronze equestrian statue of the Duke of Wellington, erected in Piccadilly in front of his residence, and opposite that other grotesque statue representing this illustrious statesman and warrior on foot as a Fighting Achilles, which is perfectly nude and perfectly black } The equestrian statue is seen in profile, not full-face ; that is to say, it is placed sideways on the miserable triumphal arch which serves as a pedestal, and it most resembles Punch mounted on Balaam's ass — at least so it has been caricatured by the witty Charivari of London, to whose pages it properly belongs. On the whole, if I am not mistaken — and the few pieces of statuary in London appear to confirm this view — the English work with good taste and real success in second-rate styles. In painting they excel in water-colours, either cabinet-pictures or portraits ; in engraving, in mezzotinto, copperplate, or the Keepsake; in sculpture, in bust portraits. In the true national museum of sculpture, Westminster Abbey, we shall find this last assertion justified.

In the chapel of Henry VI L, the largest and most profusely decorated in the old monastery of the west, where the knights of the Bath are now installed, we find the best and earliest piece of

ENGLISH SCULPTURE. 273

sculpture which England can pride herself on pos- sessing — the tomb of the founder of the chapel. It is the work of the celebrated Florentine, Pietro Torregiano, whose tragic history- we have already related. On the tomb, which is of black basalt, covered with various ornaments and surrounded by a rich and massive chantry of cast brass, recline the effigies of Henry VII. and his queen, Elizabeth. We will not attempt to review thoroughly the other ten or twelve chapels of the abbey, but briefly notice the principal tombs, not according to their positions, but according to the rank occupied in the world by the illustrious dead whose ashes they cover. First, then, we will complete the list of royal personages. Here we find the great Eliza- beth, whose marble statue immortalises the round eyes and hooked nose, the cold, imperious, and haughty manner characteristic of the maiden queen ; Mary Stuart, more beautiful, more lovable, and more frail ; Edward V. and his brother Richard, both assassinated; Charles II., ■the restored monarch, not far from the instrument of his restoration. General Monk; William III., called to the throne by the glorious Revolution ; his wife, Mary ; Queen Anne ; and, lastly, George II., who prepared his own grave in the vault of Henry VII.'s chapel.

274 ENGLISH SCULPTURE,

Westminster, however, is not only the St Denis of England, it is also the Pantheon. All the men who have rendered great services to their country, or whose works have made them illustrious, share the honour and the fame of those whom accident or birth called to the throne. There are but few warriors amongst them ; we look in vain for the Black Prince, Talbot, Marlborough — Nelson rests in St. Paul's, almost alone. Westminster contains more simple officers who died in action than great naval or military commanders. Near the gorgeous monument to Captain James Cornewall, with its elegant bas-relief sea-piece beneath a pyramid shaded by palms, rest General Wolfe, Field- marshal Lord Ligonier, and Major Andr4* with one foreigner, the Corsican chief Pasquale de Paoli, who was hospitably received by the English even in their national temple.

The statesmen, who were more numerous in England, are also better represented in the abbey. I shall not enumerate the eminent politicians of the Tudors and Stuarts, but pass on to those of our own age : Lord Stanhope ; Lord Mansfield, whose magnificent mausoleum was erected in 1805 by

• This Major Andre was unjustly shot as a spy by the Americans,

on October 2nd, 1780. A monument was erected to him in the Abbey, but he was not buried there, as M. Viardot implies. — (Tr.)

ENGLISH SCULPTURE. 275

Flaxman, the great illustrator of Homer and Dante ; the earl of Chatham, father of Pitt ; the two illustrious rivals, William Pitt and Charles Fox ; the orator Grattan ; and, lastly, George Canning, the successor of Fox and the forerunner of Robert Peel.

Amongst these numerous sepulchral monuments to men little known beyond the Channel, there are some commemorating names of more European celebrity, before which the foreigner pauses with greater respect. Such are Camden, the learned antiquary ; Sir Godfrey Kneller, who was court painter under five kings, from Charles II. to George I., and who , filled the mansions of Great Britain with historic portraits ;* the chemist. Sir Humphry Davy, to whom trade and philanthropy owe as much as science ; James Watt, who did not, it is true, invent steam, but who controlled its power and regulated its use ; William Wilberforce, a good . man and true philanthropist, who ought not to be separated from Howard, who rests in St. Paul's ; and, lastly, the great Sir Isaac Newton, whose

• More modem painters, such as Sir Joshua Reynolds, Benjamin

West, Sir Thomas Lawrence, and David Wilkie, are buried in the vaults of St. Paul's. In the centre of the same building rests also the architect who designed it, under a plain slab it is true, but with the following magnificent sentence engraved upon it : ^^ Si reguiris monumentumy circumspice.^*

270 ENGLISH SCULPTURE,

tomb, like the sanctuary of God, should be, not in a building, not in a country, but in the universe, the laws of which he recognised and laid down.

On examining his statue, which is a fine work by Scheemakers, we are struck by his resemblance to another great worker of wide views — Michael Angelo. Newton was a handsomer man, certainly, for his nose was not broken* in his youth by a choleric rival ; his face, too, is gentler and more thoughtful ; but for all that, I repeat, the resem- blance is striking in the general outline of the head, in the lines of the face, in the features, in the entire appearance. Beneath the statue of Newton are inscribed the true and beautiful words, Sibi gratu- lefitur mortales tale tantumque extitisse ;* and lower down, Humani generis decus,\

The part of the Pantheon of England which I found most delightful and suggestive was tht. south transept, or Poets* Comer. Before the. effigies of kings or politicians we experience a mere cold curiosity ; but in this silent funereal academy amongst the men whose memory will live for ever^ and who still speak to us in their works, heart and mind alike burn within us ; we seem to be in the actual presence of the imposing assembly, and

• Let mortals rejoice that such a great genius once existed,

t Honour of the human race.

ENGLISH SCULPTURE. 277

under the scrutiny of these acknowledged masters, whom we admire, reverence, and love. There, in a narrow space, are collected nearly all the writers who have rendered the rich and powerful literature of England illustrious, and with whom we are familiar through the labours of our translators and critics at least : old Ben Jonson, Chaucer, called the Ennius of England, Spenser, William Shake- spear, John Milton, Thomas Gray, Butler, W. Con- greve, Mason, Gay, VVyatt, Isaac Casaubon, Dryden, Pope, Addison, Oliver Goldsmith, Rowe, Thomson, Sheridan. We regret the absence of Swift, Field- ing, Sterne, Hume, and Richardson ; but of the greatest authors four only are missing, two belong- ing to past ages and two to modern times. The former are Roger Bacon, the learned friar, and Francis Bacon, Lord High Chancellor of Great Britain, and the still greater author of the Instati- ratio Magna; and the latter, Byron and Walter Scott. I believe that a place is reserved for Macaulay.*

The sepulchre of the illustrious author of Para- dise Lost is not worthy of him ; the little tomb quite close to the door is shabby for so great a name. Can it be that the reputation of the

♦ Macaulay's place is now filled, and the names of Thackeray and Charles Dickens must be added to this list of illustrious authors. — Tr.

278 ENGLISH SCULPTURE.

republican pamphleteer has injured that of the Scriptural poet ? The great Shakespear is more suitably treated. His tomb is a remarkable work by Scheemakers, and he is represented at full length on a pedestal decorated with symbols and allegorical figures. There is a natural nobility about this statue, without any theatrical stiffness, but the face appears to me too round, too full, too smooth. We could wish the immortal dramatic poet to have the long, grave, and thoughtful countenance of his engraved portraits. At Shakespear's feet, beneath a simple slab of black marble, lies Sheridan, who might have had a statue amongst those of the statesmen, had he not preferred to remain with the authors ; and opposite, a man who wrote little, but was a comedian, and doubtless a greater comedian than Shakespear — David Garrick. His presence here might be taken as a proof of the tolerance of English churchmen, so often denied, did we not remember that the choir alone of the old Roman Catholic church is consecrated to the dominant form of worship, whilst the rest is but a secular building.

Amongst the warriors we found the Corsican Paoli, amongst the men of letters the Swiss Casaubon, and now, in the Poets' Corner, we meet with another foreigner, a great poet, truly, although he did not write in English, or iii any spoken

ENGLISH SCULPTURE. 279

tongue, but in that universal language called music : we refer to the Saxon, George Frederick Handel. Grateful to this fine genius, the English retain their reverence for his name and works, many of them innocently imagining, on account of his long residence and death in London, that he was actually their countryman. Handel's monu- ment, by Roubiliac, is fantastical and theatrical. In a kind of niche, or marble cabinet, the German composer stands beside a table, on which are spread musical books and instruments, amongst others a horn, doubtless to indicate that he introduced the brass instruments of his time into the orchestra. The greatest fault of the statue is, I think, the lowness of the. forehead ; the sculptor has not done justice to the massive head of his model ; and I am justified in this criticism, not because I am a phrenologist, but because I have seen an authentic portrait of Handel, in which the vivacity of his somewhat whimsical humour, the energy of his determined disposition, and the fire of his prolific creative genius are all clearly rendered.

If, now, instead of noticing the fame of the celebrities admitted to Westminster Abbey, we were to consider the tombs as works of art only, we should have little to say. Some of them are remarkable for size rather than grandeur, for odd

280 ENGLISH SCULPTURE.

fancies rather than true originality. The best are the simplest, such as statues and busts, but none of them appear to us to bear comparison with the tombs of the Medici at Florence, of Paul III. or Rezzo- nico at Rome, of Turenne at Paris, or of Marshal Saxe at §trasburg. We have already mentioned the principal monuments : of the ancient, that of Henry VII. by Torregiano ; of the modem, those of Lord Mansfield, by Flaxman, of Captain Come- wall, of Newton, and of Shakespear by Schee- makers ; and to them we must add the statue of Watt by Chantrey, which is said to be a perfect likeness. There are, however, two other tombs, both of women, which deserve mention, if only on account of the fame which they enjoy. One, that of Elizabeth Warren, represents a young girl, half nude, in the semi-recumbent position of the Mag- dalene of Canova.* This figure appears to me well studied, happily rendered, but what is perh<Lps most admired is the imitation in marble of a gar- ment of coarse cloth, of which the threads may be counted — a childish fancy, reminding us of the Christ beneath the shroud and the Fish in the net in

• This figure is not intended to represent Elizabeth Warren

herself, as the text implies, but a houseless wanderer, with an infant in her arms. Elizabeth Warren was the widow of the Right Rev. John Warren, D.D., Lord Bishop of Bangor, and was remarkable for her benevolence. — (Trans.)

ENGLISH SCULPTURE, 281

the San Severe Chapel at Naples. As for the other tomb, I failed to discover either the name of the sculptor or that of the person to whom it is dedi- cated, for the guides at Westminster hurry the visitor past the tombs, much as Sancho Panza's doctor did the dishes at the governor's table. All that I could make out was that it had something to do with a lady who was shut up so long in a dungeon that she died on again seeing the day- light, when her husband came to rescue her. This scene is represented on the upper part of the monu- ment ; beneath, lean Death, coming through the half-open door, turns back and touches the expiring captive with his scythe.* It is a strange, theatrical, and pretentious composition, in the style of the

• We presume that M. Viardot alludes to a monument to the

memory of Joseph Gascoigne Nightingale and his wife, in the chapel of St. John, St. Michael, and St. Andrew, by Roubiliac, described in the verger*s guide-book in the following words: -'The lady is represented expiring in the arms of her husband ; beneath, slily creeping from a tomb, the King of Terrors presents his grim visage, pointing his unerring dart to the dying figure, at which sight the husband, suddenly struck with astonishment, horror, and despair, seems to clasp her to his bosom to defend her from the fatal stroke. Inscription : — Here rest the ashes of Joseph Gascoigne Nightingale, of Mamhead, in the county of Devon, Esq., who died July 20, 1752, aged 56, and of Lady Elizabeth, his wife ; daughter, and co-heiress of Washington, Earl Ferrers, who died August 17, 1734, aged twenty-seven. Their only son, Washington Gascoigne Nightingale, Esq., in memory of their virtues, did by his last will order this monument to be erected." — (Trans.)

282 ENGLISH SCULPTURE,

mausoleum of Maria Christina of Austria, erected by Canova in the church of the Augustines at Vienna ; but we must acknowledge that some of the details are very finely executed. The skeleton of Death, for instance, is powerfully rendered and the action is good. When the shades of night begin to gather in the spacious aisles it must form an appalling apparition.

English sculpture sent no choice work to the Universal Exhibition, and only gained one insigni- ficant distinction. An Italian artist, educated in France, Baron Marochetti, long held high and undisputed rank as a sculptor in London, but death has lately removed him from the country of his adoption.

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CHAPTER VII.

FRENCH SCULPTURE.

WE have already remarked that even in Italy, throughout the true Middle Age (from the fourth to the eleventh centuries), there was a long pause, during which the arts were almost entirely in abeyance. In Gaul, which became France under Clovis, bad taste and- ignorance were so universal, mechanical and intellectual power so en- tirely wanting, that, as we are told by M. Menard, Pepin the Short, Charlemagne, and Louis le Debon- naire used antique engraved stones for seals, and signed the decrees of their reigns with the impres- sion of a Jupiter, a Cupid, or a Marcus Aurelius. . It was during the Crusades, at Constantinople and Antioch, that eastern and western art were first brought into contact, and the result was a kind of faint revival in the Middle Ages of ancient

284 FRENCH SCULPTURE.

Grecian art ; for it may be said that the Byzantine style was the old Grecian, coloured and modified by the ideas of the East, of Persia especially, by those arts which subsequently became Arab : architecture and decoration.

At the beginning of the eleventh century, when the terrible year looo had passed away, and belief in the world's continued existence was restored, the art of sculpture and that of staining glass appeared together in France. The influence of the Crusades was naturally seen in religious buildings, and first of all in the imitation of Byzantine paintings. According to M. Viollet-le-Duc, this imitation is most evident in the sculptures belonging to the remote age of St. Bernard, in the abbey church of Vezelai in Burgundy, in which he preached the second crusade. Little by little, however, Gothic art freed itself from the tutelage to which it owed its birth. The Byzantine Christ, blessing and judging men, soon became no more than the Crucified; the glorified Virgin, crushing the serpent, and resting her foot on the crescent of the moon, was transformed into the Madonna^ mother Oi' the Holy Child. .

The monks of Cluny, whose order was founded by St. Bemon as early as the end of the ninth century, were not only better scholars, but also

FRENCH SCULPTURE, 285

better artists than those of other institutions. Stonemasons worked under the abbots or friars of this order who had studied architecture, and the more skilful of these artisans became carvers of images, and were intrusted with the most important and delicate works. They made the statues, or the heads and hands of the statues ; but they did not give their names — there was no Pheidias, no Praxiteles, amongst them. "Their figures," says M. Taine, " are destitute of beauty, thin, attenuated, mortified, and suffering ; . . . motionless in expectation or rapture, they are too frail and impassioned to live, they are already promised to heaven." And yet strict judges found fault with them. Gregory VII. and St. Bernard condemned the license indulged in by the nascent art. They were hostile to all beauty, to all shape. Virtuous, not beautiful saints were required, with nothing about them to distract the eye or the mind, or to excite earthly love. Shoulders and hips were not to be repre- sented, action was forbidden, the hands must be folded in the attitude of prayer and meditation.

In these images, whether of the elect or the condemned, of angels or of devils, expression was generally obtained by means of contortions and grimaces. " The whole period called Gothic," says M. Menard, **was divided between two equally

286 FRENCH SCULPTURE.

VICIOUS extremes — absolute rigidity or degrading mannerism."

We must here remark that the Greeks aspired not only to the true and the beautiful, but also to right balance in the true and beautiful. Hence the comparative calm of their statues, the absence of all forced or painful expression, and even, if you will, of tenderness. The Christians, on the contrary, in their endeavour to supply the want of beauty — condemned by their creed — by power of expression, naturally fell into extremes ; and this fault, con- tracted in the Middle Ages, characterised Christian art until the time of Michael Angelo, of Bernini, of Puget, and exists still in our own day, under the name of mannerism.

However, taking into account the* ideas univer- sally entertained at this time, with regard to the impossibility of representing the nude, the morti- fication of the flesh, and the superiority of ascetic piety over mobile beauty, we must acknowledge that the lay artists of the Middle Ages at least, who had more independence and individuality of character than their religious brethren, did attain to a certain excellence, a certain ideal, and in many cases even to true and powerful expression. Beauty certainly was wanting ; but, in the words of M. Viollet-le-Duc, " the style and the thought were never at fault."

FRENCH SCULPTURE, 287

The artists were in perfect accord with the ideas of their time. Art was indeed a reflection of society.

At the end of the twelfth century, and through- out the whole of the thirteenth, sculpture became more and more secular. It was no longer under the direction of the monks, but of the bishops, and the secular clergy proved themselves better informed and more independent than the professed. The bishops, less completely subject to the Pope than the monastic body, resembled the feudal lords under the monarchy before the latter acquired all its centralised authority. The result of this in art was the greater variety of subjects represented, together with increased freedom in their treatment from the thraldom of tradition. False and childish legends were abandoned for the all but historical facts of the Old and New Testaments.

The happy result of this new state of things was the production of some fine pieces of statuary, including groups, in which we already notice a skilful arrangement of lines, a felicitous choice of attitudes, with pure and devout expression. This era resembles that of the yEginetans in the history of Grecian art. The time of crude efforts was past, the true renaissance was dawning ; the age of full liberty to the artist. Indeed, we recognise in this progress of art the same love of independence

288 FRENCH SCULPTURE.

which, in the body politic, led to the institution of communes. And this independence was often carried to audacity. "The works of this time," says M. VioUet-le-Duc, "show a marked demo- cratic tendency ; a hatred of oppression, which was then spreading everywhere ; and, which is a nobler sentiment, and renders them worthy of the name of art, the liberation of the intellect from feudal and priestly bondage."

The artists of this time were thoroughly well acquainted with the laws of proportion in per- spective. Their statues, groups, high and low reliefs, are suited to the position they occupy ; faulty if seen close, correct at a distance, they are almost always intended to be looked at from below. Their authors were also conversant with the laws of light; which was the more necessary, as many sculptures of the eleventh to the fourteenth cen- turies are coloured. We may add that the groups, statues, and bas-reliefs were adapted to the amount of light which would fall upon them ; in fact, at that time, sculpture was still an adjunct, the prin- cipal decoration of architecture. In speaking of the monuments of this epoch we can neither separate the sculpture from the architecture, nor the architecture from the sculpture.

Like the Mahommedan mosques, a Christian

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cathedral was intended to be a representation of the world, a cosmos. But after the downfall of the iconoclasts, artists were free to represent all living things, and the cathedral became a more complete picture of the universe. We are therefore not surprised to meet with an infinite variety of ornaments ; a stone florUy that is to say, plants freely imitated with the chisel ; a fauna, that is, animals of all sorts, mostly fabulous or chimerical, and nearly always symbolical, such as the phoenix, the griffin, the harpy, the basilisk, the salamander together with men, saints, demons, angels, and gods. It was in accordance with ideas of this kind that the great cathedrals were constructed and decorated at Rheims, Chartres, Amiens, Laon, Sens, Paris, and in the central district formerly known as the Isle of France, which M. Viollet-le-Duc justly calls the " Attica of the Middle Ages."

After these general remarks, we will proceed to notice, ^those pieces of sculpture best known to fame," which are mostly by artists whose originality

has rescued their names from oblivion ; who were

artists by nature as well as by education, combining true genius with great delicacy and refinement. Such were, in the fourth century, Jean Ravi and his nephew, Jean Bouteiller, who, after the mis- fortunes of the reign of Charles VI., and the ex-

U

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pulsion of the English, worked together at a Life of the Virgin^ in bas-relief, round the cloister of Notre-Dame at Paris*; the unknown author of the fine tomb erected in the cloister St Victor, by Bishop Guillaume of Paris, to his cook Jacques ; Hennequin de la Croix, author of the magnificent mausoleum, dedicated by Charles V., Charles le Sage, to his fool, Th^venin de St. L6gier ; Conrad Meyt and Andr6 Colomban, who executed the tomb of Philibert le Beau, in the church of Brou ; and lastly, Michel Colomb, or Michault Colomb (143 1 to 1514), author of the monument at Nantes to Francois II. due de Bretagne (duke of Brittany) and his wife Marguerite de Foix. He it is who has the honour of giving his name to the first of the rooms dedicated to the Renaissance in the Museum of the Louvre. In the marble bas-relief attributed to him he has introduced the Struggle between St. George and t/te Dragon, in nearly high relief, but in reduced proportions. The delicacy of work- manship and the boldness of style in the figures of the mail-clad Christian Perseus on horseback, the scaly monster pierced by the lance, and the Princess Theodelinda * kneeling in the distance, would have done honour to Italy herself at this age. Whilst Colomb was at work on this bas-relief and other

• (QuDere. S. Saba ?— Tr .)

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ornaments for the Chateau de Gaillon, built by- Cardinal Amboise, Jean Juste of Tours was making a name by his tomb of Louis XII., and Jean Texier by the forty-one groups or bas-reliefs of the cathedral of Chartres ; the Marriage of the Virgin, the Visitation^ the Circumcision^ the Massacre of the Innocents, etc. "It is not Perugino whona we recognise here," exclaims Emeric David, " it is Raphael himself, as seen in the loggie of the Vatican.*' Juste and Texier both lived earlier than the Italians of Fontainebleau.

In the same room, near an alabaster statue of Louis XI L, in the costume of a Roman emperor, by a Milanese sculptor, Demugiano, are two other entirely French monuments. One is the tomb of the celebrated friend of Louis XI. and Charles VIII., the historian, Philippe de Comines, who died in 1509, and of his wife, H61ene de Chambres, who followed him in 1531. The figures, of coloured stone, are only half length, in the attitude of prayer and they are so carefully chiselled and painted as to be true portraits in full relief. The other monument consists of a pair of separate tombs, of Louis Poucher, secretary to the king, who died m 1 521, and of his wife, Roberte Legendre, whose death took place a year later. According to custom, each figure lies on its back, with folded

292 FRENCH SCULPTURE.

hands and closed eyes ; the man, in warlike costume, rests his feet on a lion ; the woman, in a close-fitting cap and flowing robe, with no ornament but a long rosary, uses a dog as a footstool. All these details are common even to triteness, the material, mere lias limestone, is not valuable, nor do the insignificant names of the persons com- memorated justify the exceptional measures taken to preserve their tombs from oblivion. Do we even know the name of the sculptor of these images ? No ; and the dates prevent us from attributing them to Michault Columb, who died many years before these worthies. Why then were their monuments brought from the church of St. Ger- main TAuxerrois to the Museum of the Louvre } Because their unknown author has produced a double masterpiece, because the exquisite sim- plicity of these memorial figures (of the woman especially) is such, that they may be considered models of French art before it was transformed by Italian influence. They are fortunately well preserved and uninjured.

Benvenuto Cellini was invited to France by Francis I. at the same time as Leonardo da Vinci^ Andrea del Sarto, Rosso, and Primaticcio. We have already noticed his Nymph of Fontainebleau in our chapter on Italian sculpture; it is in the

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same room in the Louvre as Michael Angelo*s Captives. We may also mention a statue of Friendship, by a certain Pietro Paolo Olivieri. She half unbares her heart with one hand, a strange and far from pleasing fancy, intended to typify the warmth and purity of her feelings. But does not good taste condemn the use of physical symbols to represent moral sentiments ? Is not expression the only legitimate means at the artist's command for the embodiment of his thought ? To attain to this is the chief difficulty, but also the chief triumph of art. At the same time that the Italians introduced the grand style into France, a Frenchman took rank amongst the first sculptors of Italy. This was Jean de Bologne, bom at Douai in 1524. He lived at Florence, where he was called Giam- Bologna ; but we have as good a right to class him amongst French sculptors as we have to con- sider Claude and Poussin French painters. It was probably a whim of the gloomy Michael Angelo which led to his becoming a great artist. It is said that the young Jean de Bologne, shortly after his arrival in Italy, presented the old Florentine with a very finely-finished plaster- work. Michael Angelo broke it with a blow of his stick, and ex- claimed : " Young man, learn to use the chisel before finishing.'* Jean de Bologne left his cele-

2U FRENCH SCULPTURE.

brated bronze group of the Rape of a Sabine in the Palazzo Vecc/iio, and several statuettes in the museum Degl' Uffizi ; amongst others, a Juno, a Venus, an Apollo, a Vulcan, and the Mercury,

Fig. 55. — The Flying Mercury. known everywhere as that of Giam-BoJogna. This well-known Mercury, which has been often copied, is a perfect masterpiece of lightness, equilibrium, and grace ; and is as true to life as the Dancing

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Faun of Pompeii, and the finest models bequeathed to us by Grecian antiquity. The messenger of the gods rests one foot upon a zephyr, and is about to spring into the air. One of the rooms of the Louvre is named after Jean de Bologne, because for a long time the principal piece of sculpture which it contains, the nearly colossal group of Mercury carrying off Hebe, was attributed to him. It is indeed a magnificent work, but we think it a pity that it was not turned round the other way, so as to let the light from the windows fall on to the figure of Mercury instead of on that of Hebe. The latter is, in fact, somewhat heavy, stiff, and awkward, whilst the former is supple and agile, with attitude and action alike well rendered. It has been ascribed to Jean de Bologne, because it resembles the wonderful little Flying Mercury of Florence. But it is now called Mercury and Psyche, and attributed to a certain Adrian of Vries, a Fleming probably, who must have executed this group at Prague in 1593, for the Emperor Rudolph 1 1. We believe proofs have been found to justify this change of authorship. This room should then no longer be named after Jean de Bologne, but after Michael Angelo, because it contains his Captives,

To follow the progress and development of

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French art, we must pass without pausing from the room of Michault Colomb to that of Jean Goujon (who lived about 1530 — 1572). We shall see at a glance that French statuary did not, like painting, need to await the lessons of Italians, but that the sculptors of the Renaissance took their inspiration from the image-makers of the middle age.

A few choice works, by a great artist who is said to have been lost to France in the massacre of St. Bartholomew, have been reverently preserved. The largest and most celebrated is the marble group of Diana, made for the old but still beautiful lady of Anet, Diana of Poitiers. On a pedestal of strange shape, rather like a ship, adorned with crabs, lobsters, and amorous figures, the goddess of the chase, in a semi-recumbent position, leans upon a stag with golden antlers, her golden bow in her hand, her two guardian dogs beside her. This half colossal and entirely nude figure, with the hair dressed in the style of the day, is universally looked upon as the portrait of the haughty rival of the Duchesse d'Etampes and of Catherine de Medicis; who ruled France until the death of Henry II. To complete the group, two noble and powerful-looking bronze hunting dogs, with drooping ears, have been judiciously placed at either end. These fine dogs are those described and represented in his book on

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hunting by Jacques du Fouilloux, huntsman to Charles IX. They may be quoted as models of race and also of the now flourishing art of repre- senting animals. The only other work in full relief by Jean Goujon is a bust portrait of Henry II., framed in the ornaments of a chimney-piece modelled by Germain Pilon.

But we have his bas-reliefs, in which, if we may so express ourselves, he was more truly himself, and excelled all rivals. We could imagine that the great artist who was called the French Pheidias and the Correggio of sculpture had really been able to study the frieze of the Parthenon, so much do his bas-reliefs resemble those of the Pheidias of Athens, not only in their form, for they, too, although the striking effect is not lessened, are in very low relief, but also in the grandeur of style, the correctness of drawing, and the grace and truth of the attitudes. M. Alexandre Lenoir has repro- duced Goujon's Deposition from the Cross in his Museum of French Monuments y and there is no paradox in his eulogium : " The Greeks produced nothing more perfect," for none will deny its justice. The Deposition from the Cross is now in the Louvre, in the midst of the four Evangelists, with which it is worthy to rank. Opposite these works of a sacred style are others which are profane. These are, be-

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tween two gracefully recumbent Nymphs of the Seine, a fine group of Tritons and Nereids playing on the water. "Whence did heobtain these charming forms,"

Fig, 56.— 'Fountain of the Innocents.

says Michelet, " these strange unnatural nymphs with their immensely iong and supple figures .' Are they the poplars of the Fontaine-Belle- Eau, the rushes of its stream, or the fantastic branches of

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the vines of Thomery which have clothed the human figure ?" (History of the Refor.) These various bas-reliefs are in lias limestone, as well as some other small figures of nymphs of the Seine and of the Marne. There is but one marble bas- relief, the small, but beautiful and powerful com- position, called the Awaking, which seems to me to be rather a symbolical representation of the Resur- rection, A spirit has thrown down the torch of life near a kind of nymph, who is awakening from death, not from sleep. The allegory is as clear as an allegory can be.

The sight of these beautiful works makes us deeply regret that the bas-reliefs which are con- sidered Jean Goujon's masterpiece are not also in the Louvre. I allude to those of the Fontaine des InnocentSy now erected in the vegetable market* As it was very sensibly decided to take the best groups or statues of the age of Louis XIV. from the gardens of Versailles, in order to form the museum of modern sculpture, as these works are

• This fountain was designed by Pierre Lescot, in 1550, and put

up at the corner of the Rue St. Denis and the Rue Aux Fers^ and Jean Goujon had then only sculptured the ornaments of the three visible sides. In 1788, the architects Poyet and Molinos removed it to the centre of the market, and a fourth side became necessary to make it complete. Pajou executed an imitation of the sculptures of Jean Goujon.

300 FRENCH SCULPTURE.

now preserved from the ravages of time, some traces of which were already visible, and as they are not only under good shelter, but also in a place where they are admired by better judges than the few stragglers in the now deserted gardens, why has not the masterpiece of the French Renaissance of the sixteenth century had the honour of being included in our national treasury ? There it could be better kept, its exquisite details could be better seen, it would be an object of study and admiration for artists and amateurs of all nations ; in its turn it would be visited by those better able to appre- ciate it than the dealers in cabbages and lettuces, who would feel as little regret for its loss as they do pride in its possession. It is undecided what shall be put in the middle of the square court of the Louvre, which awaits. Heaven knows what — some equestrian statue, probably, which a revolu- tion will throw down, like those of Henri IV. and Louis XIV. It is really useless to go to the expense of bronze. Let the Fontaine des Innocents be set up in the court of the Louvre, in the centre of the art collections. That is its true place, and there it would remain as long as Paris is Paris.

It is customary to call Jean Goujon the restorer of sculpture in France. Far be it from me to dispute or detract from his glory. I would gladly own him

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to be the creator of French statuary. But this title can only be his in common with two other artists, Jean Cousin and Germain Pilon. They may, indeed, have preceded him. Although we do not know the

Fig. S7- — Tomb of Pierre de Breze.

exact date of the birth of Jean Goujon, he is sup- posed to have been born about 1530. Jean Cousin and Germain Pilon were therefore his seniors by some twenty and fifteen years respectively. The

302 FRENCH SCULPTURE.

three were contemporaries, rivals, and fellow- labourers in the common work of the French Renaissance.

The fine tomb of Pierre de Breze, high seneschal of Normandy, at Rouen, is attributed to Jean Cousin ; but in the Louvre we haJve only one piece of sculpture and one painting from his hand — ^both, however, equally excellent. The former is the Mausoleum of Philippe de Chaboty admiral of France, which Cicognara calls the masterpiece of French sculpture in the sixteenth century. The semi-recumbent figure of the brav^ and noble admiral leans upon the helmet with the left arm. But the author of the Last Judgment and the Art of Designing (IJ Art de Desseigner) was so entirely occupied in painting glass windows and writing precepts, that he has only left a few easel paintings, and still fewer sculptures. Chabot's mausoleum, if it be indeed by Jean Cousin, combines in itself all that gives value to art objects : it is a fine work, its author is celebrated, and his productions are rare.

Germain Pilon (about 1515 — 1590) was a sculptor only, and as industrious as he was skilful. There was no need to rob the vaults of St. Denis of the tombs of Frangois I. and Henri II., for the Louvre contains a large collection of his works, It pos- sesses, for instance, the mausoleums of the Chan-

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cellor of France, Ren6 Birague (or Birago, for he was an Italian, like Gondi, Concini, and Mazarin), and of Valentine Balbiani, his wife. It was of him that Michelet said : " Birague, the man of the St. Bartholomew, who was so impatient to be a cardinal, that he suddenly became a widower." These tombs, with the two spirits extinguishing their torches, originally formed one monument, which is now divided. On one tomb the bronze figure of the chancellor, in his long robes, kneels in the attitude of prayer. It would perhaps be im- possible to find a more natural and life-like bronze statue. On the other tomb, which formed a kind of pedestal to the former, the marble figure of Valentine is extended, supporting herself on her pillows, and reading the holy scriptures with down- cast eyes. Near her is a little dog. What con- stitutes the great originality of this monument, is that the same person is seen in very low relief on the front of the base, not now living and clothed, but nude, emaciated, and lifeless. This admirable bas-relief sculptured beneath the statue affords a visible contrast between death and life ; it teaches contempt for the flesh, it embodies the grand but . false idea of the Christians.

After this double mausoleum, the most celebrated work of Germain Pilon is the group of three women

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supporting a gilt vase, intended, it is said, to con- tain the hearts of Henri 11. and Catherine de Medicis. This group, which was chiselled in a single block of marble, was ordered by the mother of the three kings (Frangois II., Charles IX., and Henri III.), and placed by her in the church of the Celestines. What does it represent } For a long time it was called the Three GraceSy and it is under this name that it is known ; others, however, have contended that they were meant for the three Theological Virtues. Hence a learned controversy. On the one side, in support of the old belief, attention is called to the inscription of the word Charities (^ap^Te?), the Greek name of the Graces ; whilst holders of the modern opinion have replied that this name, badly written or badly read, was merely Charity, and that the Christian Virtues were more likely to be represented on a sepulchral monument placed in a church than the heathen Graces. Adhuc subjudice lis est. But the latter supposition is the more probable.*

• "With regard to the Greeks," say MM. Louis and Rene

Menard, **we must remark, that the great idea of which these goddesses are the expression, has been generally ill comprehended by the modems, as is always the case with a synonjrm. The word grace signifies both beneficence and elegance, and die former meaning has been forgotten whilst the second has been adopted. The inhabitants of Siena were nearer the truth when they took the

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With this famous and puzzling group we will notice four other figures, female also, but of wood, which supported the shrine of St. Genevieve. I shall not attempt to explain them, for according to the adage, Numero Deus impure gaudety it is difficult to find a religious meaning in the number four. Together with the bust portraits of Henri II., Charles IX., and Henri III., a small child's bust (probably that of Catherine's other son, the Duke of Alengon), and, lastly, a bas-relief in stone, the Sermon of St, Paul at Athens ^ which formerly adorned the pulpit of the Grand Augustines. We have now mentioned all the works of the illustrious Germain Pilon.

Amongst the works of the three founders of the French school of sculpture are to be found two monuments erected by Paolo-Ponzio Trebatti, of Florentine origin, who is often called Mattre Ponce.

three graces for the three theological virtues, Faith, Hope, and Charity ; and as the name of graces no longer suggests anything to the mind, but the childish fancies of the last century, their Greek name, charities, should be restored to these goddesses. With the ancients this word signified joy and affection, generosity and gratitude. The symbols of these three inseparable sisters, called the beneficent, the charities simultaneously expressed the gifts of the gods and the blessings of men."

Can Germain Pilon have anticipated as early as the sixteenth century the learned modem discoveries in symbolism ?

X

306 FBENOH SCUL P TUBE.

He came to France with Primaticcio, and, like him, remained there. These monuments are the tombs of Alberto Pio, of Savoy, duke of Carpi, one of the generals of Francois I., and of Charles de Magny, or Maign6, captain of the watch under Henri II. The Duke of Carpi's effigy, a bronze likeness, reclines upon the base of the tomb ; he is leaning on the left elbow, meditating on an open book. The statue of Charles de Magny, a portrait also, but in stone, is completely clothed in mail ; he sleeps in a sitting posture, his halberd in his hand : he is at his post. These two figures by Trebatti give us a very high opinion of the frenchified 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, such as the St George of Michael Colomb, and even the Admiral Chabot of Jean Cousin.

Above the Duke of Carpi, in a terra-cotta medallion, we see a head of Hercules in high relief, wearing the lion's skin. It belongs to the decora- tions of a house at Rheims, and is attributed to Pierre Jacques. Who is Pierre Jacques } Can it by happy chance be that Mattre Jacques, native of Angoul^me, who, in 1550, competed with Michael Angelo at Rome for a figure of St. Peter, and who has left some excellent wax models of a living.

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a flayed, and a dissected man ? If so, this Hercules is very valuable.

We will now continue our study of French sculpture in the Louvre, which contains scarcely any but the greatest works.

If the room next to that of Jean Goujon con- tained any more important works by Sarrazin than a bronze bust of the chancellor, Pierre Seguier, the Mausoleum of the Prince of ConcU, or that of the Cardinal de Berulle, for instance, it would certainly have been named after him and not after the Anguiers. This honour should legitimately belong to the sculptor who, in conjunction with the painter Lebrun, founded the Academy of the Fine Arts, and who, being born in 1590, and educated in Italy, forms a connecting link and represents the tran- sition between Jean Goujon and Pierre Puget, Frangois I. and Louis XIV. But if Sarrazin be set aside, his immediate predecessor, Simon Guillain (1581-1658) would perhaps have the right of naming this second French room. Guillain was the author of the bronze statues of Louis XIII., Anne of Austria, and Louis XIV. as a child, which formerly composed the Monument of the Pont au Chaitge, and are now in the Louvre. He was the master of the two brothers Anguier, who have been preferred to him. Let us resign ourselves to this choice.

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In the centre of their room rises an obelisk in decorated marble with four symbolical figures round the base, Truth, Union, Justice, and Force. An inscription informs us that it is the funereal monument of Henri de Longueville. Of which ? Of the Henri I., who gained the battle of Senlis on the Ligne in 1589, or Henri II., who was one of the chiefs of the Fronde, in conjunction with his wife, Cardinal de Retz, and the Prince of Cond6 } In. any case the elder of the Anguiers, Frangois (1604- 1669), is the author of the mausoleum and also of the tombs of Jacques- Auguste de Thou and of the Princess of Cond6, Charlotte de la Tr^mouille, two marble figures kneeling in prayer. Another sepulchral monument, that of Jacques de Souvrd de Courtenvaux, together with a bust of the great Colbert, are by the younger Anguier, Michel (161 2-1686), whose name ought to be popular in Paris, for he executed, after the designs of Lebrun, the ornaments of the triumphal arch which has become the St. Denis gate, and the fine Christ on the Cross set up on the theatrical decoration intro- duced into the church of St. Roch, and called the Calvary, Although executed with care, knowledge, and talent, these various works by the two Anguiers are spoiled by their heaviness, the fault which should be especially avoided in handling marble and bronze.

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It appears that French sculpture was for a long time chiefly employed in tombs. There are two others in the same room : that of the constable Anne de Montmorency, killed at the battle of St. Denis in 156^^, and that of his wife, Madeleine de Savoie-Tende. These are two marble figures lying on their backs, with folded hands, in the old form of the tombs of the Middle Ages. These mau- soleums, together with the busts of Henri IV. and the president Christophe de Thou, are by a certain Barth^lemy Prieur, an artist but little known now, and of whom there is no record in biographies. Judg- ing by his style, however, he must have preceded the Anguiers, and probably even Simon Guillain.

He would thus be the contemporary of Pierre Francheville (1548- . . . ), whom a somewhat ex- cessive generosity has made the godfather of the last room. Surely the distorted and unsightly statues of Orpheus and of Davidy conqueror of Goliath, have not obtained this honour for the enervated pupil of Giam-Bologna ; but rather, we imagine, the four bronze figures of vanquished and chained nations, made by him for the four angles of the pedestal of Henri IV.'s statue on the Pont Neuf, of which a few fragments only now remain, it having been destroyed in the Revolution.*

• The work of Jean de Boulogne. The horse was given to

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Michael Anguier's is the last of the rooms of the Renaissance ; and the first of those containing modern sculptures is named after Pierre Puget.

Jacques Sarrazin, the companion of Simon Vouet in Italy, his friend and son-in-law in France, played the same part in sculpture as the latter in painting ; and Pierre Puget's (1622-1694) was analogous to that of Nicolas Poussin — indeed, with all his faults, he was, and still is, in my opinion, the greatest of French sculptors. In the chief beauty of his character, in his love, his enthusiasm for independence, he again resembled Poussin, and at the same time Eustache Lesueur. Like Poussin, Puget for a time tried living at court under royal patronage ; but, soon disgusted with this gilded servitude, and rebelling against the exactions of the Inspector-general of the Fine Arts, who wished him to adopt his ideas and even his designs, he returned to his native place, Marseilles, as Poussin did to Rome, and gave himself up in solitude to the suggestions of his genius. There he became a painter, sculptor, and architect, after having been a ship-builder in his youth.* His paintings, which

Marie de Medici, widow of Henri IV., by her father Cosmo II., Grand Duke of Tuscany. The statue of the royal horseman was added later.

• Puget first conceived and carried out the idea of those huge

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are pretty numerous, and of every style, have remained in the towns in which he successively resided, Genoa, Toulon, Aix, Marseilles ; * but his sculptures, which are far superior, were mostly sent to Versailles, and it was the productions of his chisel which earned him the beautiful titles of tHe Rubens of sculpture and the French Michael Angela, Although resembling Poussin in the circumstances of his life, and in his character, Puget as an artist differed essentially from the great painter of Andelys. He was carelessly and inadequately educated ; he had no .instructor in art or in letters, he saw few classical models, and he never atoned

poops, with double galleries and wooden figures, which were soon imitated everywhere in the decoration of clumsy high-decked vessels. At the age of twenty-one he made his first attempt on the ship Queen, and later he applied his invention with the greatest success, to the Magnificent of 104 guns, equipped by the Duke of Beaufort, the old Rot des Halks {Market King), when he went to aid the Venetians in Candia. Vessel and Admiral perished together on the 25th of June, 1669.

• The museum of the last-named town contains four : the Baptism

of Clovis and the Baptism 0/ Consiantine, bearing date 1652 (when Puget was thirty years old), and much spoilt by unskilful restoration ; the Salvator mundi of 1654, better preserved and quite Italian, in the debased style of Pietro da Cortona ; and lastly, the portrait of Puget himself, of which M. L^on Lagrange says : **It represents a man forty years old, whose expression it is difficult to define ; it is a combination of natural roughness, acquired refinement and restless eagerness, the brow is full of genius, and we read the consciousness of his own genius in the eyes and mouth."

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for the faults of his early training by study and reflection. He was wanting in knowledge and in taste ; he neither knew nor understood the beauties of antiquity ; but he was as original as he was eccentric, and yielding himself unreservedly to the dictates of his mighty genius, he was pre- eminently successful in expressing life, action, power, and sometimes even passion. None ex- celled him in giving warmth to marble, and I might add, without hesitation, colour. Like Michael Angelo, he often set to work on a block without preparation, design, or sketch. Puget has hit off his own likeness at one stroke, in the letter written when he was already sixty years old to Louvois, with his group of Perseus and Andromeda :

• ' I am nourished by great works ; I labour at them,

and the marble trembles before me, however large be the piece.'* *

Who could recognise in the Hercules in repose, without the club, or the skin of the Nemaean lion, the demigod whom the Greeks called the most beautiful of the pentathli, because his limbs were not only the most muscular, but also the most slender and supple. Looking at this coarse head,

• The translator adds the original, which cannot be well rendered

in English : " Je suis nourri aux grands ouvrages, je nage quand j'y travaille, et le marbre tremble devant moi, pour grosse que soit ]a pi^ce."

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with turned up nose, we say to ourselves that Puget has merely copied some porter from the wharf. But at the same time, how happily im- passive action is given, how well the flesh and muscles are rendered, how instinct with life is the whole body ! Take from this statue the name of Hercules, call it only a wrestler, a market porter, and you have a perfect work.

Still more perfect, in spite of the unjust disdain of Cicognara, is the group of Milo of Crotona, devoured by a lion. As he is not a god, we do not expect him to be represented in a conventional and sacred form, and the Crotonian gives us a very fair idea of an old athlete. The life and action of ^ the body and the finished execution are alike wonder- ful, whilst the moral expression is no less excellent. In every line, from head to foot, the rage and suffering of the famous conqueror in the Greek games are admirably rendered ; his powers weak- ened by old age, and his hand caught in the cleft tree, he feels himself torn by the teeth and claws of his treacherous enemy, without the power of defending and avenging himself with the mighty fist which once felled an ox. This group not only resembles, it rivals that of the Laocoon; and we understand that when the case which brought it to Versailles was unpacked before Louis XIV., the

.3 1 4 FRENCH SCULP TUBE,

tender-hearted Maria Theresa, full of fright and pity, exclaimed, " Ah, mon Dieu, le pauvre homme !" We believe that this Milo of Crotona is considered the chef-d'oeuvre of Puget, and perhaps also of all French sculpture.

In speaking of the group ol Perseus delivering AndrofnedUy which is enlarged by a figure of Cupid aiding the son of Danae to cut the chains of the beautiful victim, Puget might well say, " however large be the piece," for I know of no modem group of greater size, and to find " a larger piece " we must turn to the Toro Farnese at Naples, which has five figures. The author does not appear to have been in the least embarrassed by the extreme difficulty of so complicated a work ; neither the clearness of the subject, the general action, nor the workmanship of the various details which make up the whole, are at all affected or impaired by it. Andromeda is pretty, delicate, and pleasing; Perseus, strong, bold, irresistible, like the son of Jupiter mounted on Pegasus. But the difference in the size of the sexes is exaggerated ; either Andromeda is a little girl, or Perseus a giant.

We notice the same disproportion fai an eques- trian statue of the Victorious Alexander^ the horse is enormous compared to the rider. But perhaps Puget intended this powerful Bucephalus, trampling

FRENCH SCULPTURE. 315

under foot confused heaps of conquered nations, to represent the various forces which the genius of Alexander held united for his distant and stupen- dous conquests. The rest of Puget's works in the Louvre are a plaster copy of two caryatides which he made for the balcony of the H6tel de Ville of Toulon ; a small tomb, in which two angels and two cherubims are grouped round a sepulchral urn, and the large and singular bas-relief representing the well-known scene of Alexander and Diogenes. This was Puget's last work, which he only finished just before his death, at the age of seventy-four. In this he again resembles Michael Angelo, whose old age was so laborious and prolific. For want of a better name, this group is called a bas-relief, but in reality it contains every kind of sculpture. Those parts which stand out, the head of Alex- ander's horse, and the legs of Diogenes lying near his tub (which should be a large earthenware vessel), are necessarily in full relief; whilst the foreground is in high, and the background in low relief, which decreases gradually in the distant perspective. This sculptured picture is an extra- ordinary feat, and I own that its very strangeness makes its author near akin to Michael Angelo, and still nearer to Algardi, but it removes him far from Pheidias; which fact, if I am not mistaken, proves

316 FRENCH SCULP TUBE,

that the arts should not encroach on one another ; that there should be no debateable land between their domains. The mission of sculpture is to gratify the taste with beautiful forms only ; at her command she has nothing tut lines, hollows, and projections ; she is to enable us to touch what painting lets us see, and sculpture has no more right to attempt pictures in marble than painting to make monochrome statues, with all the resources of colour, chiaroscuro, and perspective at her com- mand, Puget's example is decisive, as is proved by no one having followed it

The second room, that of Antoine Coysevox (1640-1720), contains a fine collection of the works of this eminent artist, who lived shortly after Puget, and resembled him in talent. Amongst them we notice particularly the Mausoleum of Cardinal Mazarin, with a Spirit bearing the lictor*s axe and three allegorical bronze figures, which makes us regret the Mausoleum of Colberty con- sidered Coysevox's principal work. A poor enough statue of the foolish Duchess of Burgundy, who wished to be represented as Diana, the fair-limbed goddess; a statue of Louis XIV., who, when young, assumed the character of Apollo, but is now depicted as old, devout, and kneeling in prayer. The busts of Richelieu, Bossuet, and F6n61on, which

FRENCH SCULPTURE, 317

were not successful likenesses ; the faces of all three are flat, the foreheads low, the heads narrow ; not at all like their painted portraits preserved to us by Philippe de Champagne and Hyacinthe Rigaud. The busts qf Pierre Mignard and Charles Lebrun, which are, on the contrary, very fine, and good likenesses. They are so superior to the former, that it is difficult to believe they are from the same hand There were, in fact, two periods in Coy- sevox's life: one of vigorous power, when he sculptured the two celebrated painters ; the other of unskilfulness or weakness, when he produced the busts of the great ministers and the celebrated writers.

It is a pity that there is no work in the Coysevox room by his rival Francois Girardon (1630-1715), "whom La Fontaine and Boileau," says Thore, " compared to Pheidias, as Moli^re compared Mig- nard to Raphael." It is true that Girardon paid court to Louis XIV. and Lebrun, and only pro- duced in marble the designs imposed on him by the arrogant president of the Academy ; but for all that the gigantic groups of Pluto carrying away Proserpine^ and Apollo descending to Thetis^ with which he adorned the gardens of Versailles, have earned him a distinguished position amongst the sculptors of the reign of the grand monarque.

318 FRENCH SCULPTUSE.

The third room is named after the brothers Coustou, Nicolas (1658-1735), and Guillaume (1678-1746), The former is the author of the group called the yuttction of the Seine and Marne,

in the Tuileries Garden ; and the latter of the famous Ecuyersox Cfievaux de Marly, aoy/ placed at the entrance to the Champs Elys^es. The works con- tained in this room would not alone have earned for

FRENCH SCULPTURE. 319

the Coustous the honour of naming it. On one side we have Louis XV. as Jupiter, in Roman costume, and Queen Maria Leczinska, as Juno ; pretentious figures in bad taste, at once feeble and theatrical.

Fig. 59.— Hidiiig-Master of Marly. (Paris, C hamps-Elysee.)

in the false and ridiculous antique style which was introduced on the stage by Lekain and others of his day. On the other side Louis XIV., in regal mantle, holding his crown and sceptre, but kneeling

320 FRENCH 8C ULP TUBE.

and bending forward in the humble attitude of his Vow to the Virgin^ like the princes of the Lower Empire naming the mother of Jesus generalissimo of •their armies. The execution of this figure renders it beautiful, and it is not even spoilt by the style. M. Ingres, probably without having seen it, has reproduced it exactly in his picture on the same subject — the Vow of Louis XIV,

This Coustou room would therefore be nearly empty, were it not filled with other works, which appear to me more interesting and remarkable. We allude to the diploma subjects successively presented by the members of the Academy of Sculpture on their admission to that body, which preceded the Institute of the Fine Arts. They are all little groups of figures a foot and a half high, some representing Christian, but the greater number mythological subjects. The rule as to size better enabled those enervated successors of Puget to compete, who knew not how to carve "large pieces," and to make the "marble tremble before them." As most of these sculptors are entirely unknown, in spite of their title of academicians, it will be useful to recall their names, and to mention one work characteristic of each.

We begin, then, with a Hercules on thepile^ by Guillaume Coustou ; a Hercules crowned by Glory ^

FRENCH SCULPTURE. 321

in high reh'ef, by Desjardins (the Fleming, Martin Van Bogaert) ; a Jestis bearing His Cross, by Bouchardon ; a Milo of CrotonUy devoured by the lion, by Etienne Falconnet* (1706— 179 1), the friend of Diderot ; a Mercury attaching the wings to his heels, by Jean Baptiste Pigalle (1714 — 1785) ; and a River God, pouring water from his urn, by Jacques Caffieri (1723 — 1792). All these became celebrated by more important works ; Caffieri, for instance, has left excellent busts of Rotrou and the two Corneilles, in the lobby of the Thidtre Frangais, M. Thore very justly remarks : "These busts have the bold- ness of Puget, the grace of Germain Pilon, the skilful execution of Coysevox, and the spirit of Coustou."

We now proceed to enumerate those who are nearly or entirely unknown, with the single work which is to rescue them from oblivion. The Leda and the Swan, by Jean Thierry (1669 — 1739)> which anticipated the Pompadour style by thirty years.

• Falconnet is the author of the fine bronze equestrian statue

which Catherine II. had raised to Peter the Great, in Saint Isaac's Square, at St. Petersburg. Set up on a granite rock, it bears the inscription : Petro primo Catherina secunda. To express the true thought of the foundress, it should now be changed to: Petro Magno Catherina Magna, ** The statue that the Empress of Russia raised to Peter the Great speaks to all nations from the banks of the Neva; it says : I await that of Catherine." (Voltaire, art. Beaux- artSy in the Diet. Philos.)

Y

322 FRENCH SCULPTURE.

St Sebastian at the Pillar^ by Frangois Coudray (1678 — 1727) ; and St. Andrew before his Cross, by Jean Baptiste d'Huez; two good studies of the sacred style. Hercules vanquished by Love, by Joseph Vinache (1697 — 1744), which shows more knowledge and appreciation of the antique than the Hercules of Puget. Plutus, by Anselme Flamen (. . . . — 1730). Ulysses bending his bow, by Jacques Rousseau ( — 1740), a powerful and finely- finished work. A Titan struck by thunder, by

Edme. Dumont ( — I7SS)> which merits the

same praise. Polyphemus on the rock, with the one eye in his forehead above the two empty sockets, by Corneille Van Cloves, who was no doubt a Fleming, like Desjardins. Neptune calming the waves, the Quos ego of Virgil, by Lambert Sigisbert Adam (1700 — 1759). Prometheus and the Vulture, by Nicolas S^bastien Adam (1705 — 1778), who has well expressed the contortions of acute agony and powerless rage (this is not the indomitable Prometheus of iEschylus). Lastly, a Charon, with- out the author's name ; which is, however, one of the best of these academic pieces, remarkable for the gloomy and reserved expression suitable to the ferryman of hell.

In the room of Edm6 Bouchardon (1698 — 1762), containing ^orks of the eighteenth century, we are

FRENCH SCULPTURE, 323

surrounded by Cupids and Psyches in the true Pompadour style. And yet no one shared the spirit of his age less than Bouchardon himself. Well-educated, conscientious, and of quiet appear- ance, he avoided pomp, and lived in solitude, because, enamoured as he was of the antique, the absurdity of the fashionable costumes was re- pugnant to his taste and predilections. His style, correct and noble, but somewhat cold, needed only a few sparks of Puget's fiery enthusiasm to give it animation. We can appreciate his statues of Christ, Mary, and of eight Apostles which adorn the church of St. Sulpice, and the fine sculptures of the fountain of the Rue de Crenelle ; and we might have appreciated his equestrian statue of Louis XV., the horse of which was considered a masterpiece, had it not been destroyed in 1793. But to under- stand to what an extent this eminent artist loved and understood true beauty, in this age of the insipid shepherdesses of Boucher and his fellows, we have only to examine the Young Girl^ holding a stag by a cord, in the Louvre. The soft and pleasing attitude, the graceful form, the head, which is more than beautiful, almost grand, and the delicacy of the execution, combine to render this charming statue the most antique oi. modern works, Canova is anticipated, his spirit is here. Similar, if

324 FRENCH SCULPTURE.

not equal praise is due to the Victorious Cupid, a beautiful youth, cutting out his bow in Hercules' club with the sword of Mars, as well as to the group of Psyche and Cupid, We see the inquisitive beauty drawing near to her sleeping lover with the fatal lamp. He will flee as soon as he is known, to typify that happiness is as little enduring as a passing illusion.

Bouchardon's room rejoices in another Psyctie, by Augustin Pajou (1730 — 1809), which represents her inconsolable at the flight of the fickle god, and given up to the vengeance of Venus. That there may be no mistake as to the name and meaning of his statue, he has written the following mischievous line round the pedestal :

(i

Psyche lost Love in wishing to know him."

This inscription, beneath the nude figure of a clumsy and ungraceful courtesan, who is neither the Phryne of Praxiteles nor the Venus of Gnidus, reminds us of that painter of Ub^da, whom Cer- vantes makes fun of, who worked at random, saiga to que saliere, and wrote beneath the chance pro- duction of his brush, **This is a cock," that it might not be taken for a fox. Pajou atoned for this, however, in a fine, life-like, and speaking portrait of Buffon ; he was always successful with sculptured

FRENCH SCULPTURE, 325

likenesses, those of women especially, and knew how to make them pretty and pleasing in spite of the shapeless head-dresses to which they were con- demned by fashion. Two other nude figures, by Chretien All^grain (1705 — 179S), called Venus and Diana at the Batky are scarcely worthy of even a passing notice.

The room named after Houdon is not reserved to him alone, but to all those who may be con- sidered his contemporaries ; for, with the exception of one, the sculptors whose works it contains died after the beginning of the present century. Jean- Baptiste Pigalle (17 14 — 1785) lived and died last cen- tury ; he has only one work in the Louvre, a bust- portrait of Maurice of Saxony in lias limestone. This artist preferred truth to beauty ; he was a most persevering worker, as prolific as he was skilful, and, good and life-like as is this one likeness, it is not enough to represent such a man in the museum of France. We must seek him rather in the Library of the Institute, where we find his strange statue of Voltaire, whom he insisted upon representing nude, although he was old and emaciated ; in one of the chapels of Notre Dame, where we find the Tomb of Marshal Harcourt, which he composed in accord- ance with a dream of the hero's widow, and last, not least, in the Protestant church of St. Thomas, at

32G FRENCH SCULPTURE.

Strasburg, which contains the celebrated Monument to Marshal Saxe, executed in marble by Pigalle, after the designs of his friend Charles Nicolas Cochia Death opens a grave at the feet of the hero of Fontenoy, and weeping France strives to retain him.

We will now name the other sculptors of the same room, that is, of the same age, as Pigalle, according to the date of their birth.

By Jean Antoine Houdon (1741 — 1828), to whom we owe the Flayed Man so well known in schools of art, we have a bronze Diana^ whom, but for the crescent and the bow, we should scarcely take for the chaste goddess of Ephesus, for she is represented entirely nude, without veil of any kind. It is a fine study in a pure style, I own, although somewhat heavy for the nimble huntress, but it is spoiled by the stiff action and strained attitude. There is far more disinvoltura, grace, and charm in the marble group of Cupid and Psyche c^i^^xn^ butterflies, and in Psyche with tite Lampy Psyche punished for her curiosity, and weeping for her lost happiness. Can this difference of style be accounted for by the difference of material ? Is metal less subservient to the will of the artist than marble ? This question is answered on the spot by Houdon himself, for the bronze bust of Jean Jacques Rousseau, wearing the narrow fillet of the

FRENCH SCULPTURE.

conqueror in the Olympic games, is placed near that in marble of the Abb^ Aubert, and I do not think that this portrait of the author of EmiU is

Fig. 60. — Voltaire by Houdon

inferior in beauty of workmanship and truth to that of the La Fontaine of children.

Houdon is however, better represented in the

328 FRENCH SCULPTURE,

Theatre Fran^ais than in his own room in the Louvre. The bust of Molifere, in the lobby, and the statue of Voltaire seated, in the vestibule, are excellent and superior works, which will bear com- parison with any of those by his contemporaries. In them Houdon has showed how the ideal may be combined with the real, the quickening spirit with the body it animates. He has in every case given his models expression ; an expression as keen as that of the portraits of Titian and Rembrandt. I like to think that the statue of Washington, made by Houdon. for Philadelphia, is equally worthy of the virtuous and illustrious founder of American independence, of the greatest public man of modem times, on whom Byron pronounces a eulogium at the end of his ** Ode to Napoleon :"

• • Where may the wearied eye repose,

When gazing on the great ; Where neither guilty glory glows.

Nor despicable state ? Yes — one — the first — the last — the best, The Cincinnatus of the West,

Whom envy dared not hate. Bequeath the name of Washington, To make man blush there was but one."*

• On the new monument to Washington, at Philadelphia, the

Americans have inscribed :

• • The first in war,

The first in peace, And the first in the hearts of his fellow-citizens."

FRENCH SCULPTURE. 329

By P. L. Roland (1746 — 1819) we have a Homer in rhapsody, accompanying himself on his lyre. ByAntoine Denis Chaudet (1765 — 1810) a Cupid seizing a butterfly, the symbol of the soul, and the group of the Shepherd Phorbas carrying away the young CEdipuSy which is considered the best of his works, and is certainly one of the best of the time of Louis David. By Adrien Gois (1765 — 1823) an alabaster bust of Corinna, Is this the ancient rival of Pindarus, or the heroine of Madame de Stael's romance (Corinne) } By Joseph Bosio (1790 — 1845) an Aristteus, not as a hero, but as the god of bees, and two youthful figures, male and female, which would make a good pair : one is Hyacinthus, the beloved child of Apollo, by whom he was struck on the head with a quoit, in consequence of the jealousy of Zephyrus ; the other is the nymph Salmacis, dying of love for the son of Hermes and Aphrodite, with whom she was united in one body (Hermaphrodite).

It is a pity that a bust of the Virgin Mary, with a sanctimonious and imbecile expression, has been placed near these fine works. It shows that its author, Bosio, knew no better how to express religious feeling in sculpture than in painting. He was foolish enough to attempt the sacred style in his old age, and, with still greater foolishness, he

330 FRENCH SCULPTURE.

took the public into his confidence. By Charles Dupaty (1775 — 1825) we have a Byblis changed into a fountaia By P. L. Roman (1792 — 1835) a group of Nisus and Euryalus dying together, as related in the sixth canto of the iEneid. By J. P. Cortot (1787 — 1843) another group, less tragic, and better suited to the requirements of sculpture, of Daphnis and Chloe learning to play the double pipe, a piece as pretty and pleasing as the tale of Longus in the translation of Amyot.

We have now passed through the Louvre and are at the entrance to the Luxembourg. In this museum we find none but the works of contem- porary painters and sculptors, and for the reason given in a former work, we shall abstain from all criticism on those groups of statuary. We will merely mention the names and works of those who have been worthy to pass through this museum of living artists, to be reckoned after their death amongst our national glories. For greater impartiality we will arrange them in alphabetical order :

A Jagua devouring a Hare, by M. Antoine Louis Barye (1795 — . . . .)» a bronze group cast in one mould, the wax being broken ; a process fallen into disuse since the Renaissance. Amongst the other state collections there are more works by M. Barye, such as the four figures of PeacCy War,

FRENCH SCULPTUBE. 331

Force, and Order, which adorn the pavilion of the new Louvre ; and the Lion devouring a Boa, in the Tuileries Garden. Every one knows how justly famous is M. Barye for his representations of animals. A Cupid clipping his wings, by M. Jean

Marie Bonnassieux (1810 — ). Truth, by M.

Pierre Jules Cavelier (1814), to whom we are also indebted for the statue of Blaise Pascal, on the ground floor of the tower of St, Jacques, and the beautiful Sleeping Penelope, for which the Due de Luynes had a special pavilion constructed in his Chdteau de Dampierre, A Young Hunter playing with his Dog, by M. Antoine Laurent Dantan (1798). Psyche deserted by Cupid, by M. Antoine Desboeufs (1793). Innocence, by M. Louis Desprez (1799). Cupid tormenting a Soul, symbolised by a Butterfly, by M. Augustin Alexandre Dumont (1801) ; who is also the author of the fine Genius of Liberty, on the Column of July. A Young Fisher Dancing the Tarantella, by Frangois Joseph Duret (1804-), who has since produced the companion groups of the Young Neapolitan Dancer, and the Improvisatore at the Vintage. A Wounded Dog, by M. Emmanuel Fr^miet (1824--), which is merely a sample of the numerous animals executed by him in imitation of M. Barye. Minerva after the Judgment of Paris, by M. Nicolas Marie Gatteaux (1788-), who

332 FRENCH SCULPTURE.

was more celebrated and successful as an engraver of medals. Mutius Sc(Bvola, by M. Charles Theodore Gruy^re. The Guardian Angel leading a Repentant Sinner to God, by M. Jean Aristide Husson (1803-). A Naiady by M. Georges Jacquot (1794-). The Prayer^ and Modesty^ by M. L6on Louis Nicolas Jaley (1802-). Innocence, a young girl confiding her first secret to Venus. A Young Girl Frightened by a Snake, by M. Philippe Henri Lemaire (1797-). Ariadne, by M. Aim6 Millet (1816-) ; for which his Bacchant o{^<Q Universal Exhibition, 1855, would be a good companion statue. A Young Hunter Wounded by a Snake, by M. Messidor Lebon Petitot (1794-). The Luxembourg also contains a few works by deceased sculptors. We find, for instance, a Vesta, by Houdon ; a Pomona, by Dupaty (1771 — 1825) ; a bas-relief of France, calling her children to her defence, by Moitte (1746 — 18 10) ; a Son of Niobe, a Psyche, an Atalanta, by. the Genevese James Pradier (1794 — 1852), who is also the author of the Fontaine MolUre in the Rue Richelieu ; and lastly, the Young Fisher Playing with a Tortoise, a Mercury, and a Joan of Arc, by Frangois Rude, who is famous for numerous other works, such as the powerful bas-relief of the Arc de Triomphe de VEtoile, called the Departure, or the Marseillaise, We regret not meeting with a single work in the

FIIENCH SCVLPTVRE.

833

Luxembourg by the two Rameys, father and son ; or by Foyatier, author of the celebrated Sparlacus of the Tuileries , by Charles Simart , Dantan the younger, &c. But more inexplicable still is the

f

iBr'^sp^^

t

Ik

1

i

Fig. 6l.— The Marseillaise, by F. Rude.

absence of Pierre jean David, cilled David of Angers 11789 — 1856). The author of the pediment of the Pantheon, of the monument Aux grands

334 FRENCH SCULPTUSE.

kmnmes la Patrie Reconnaissante, of the statue of Pkilopcemen in the Tuileries, of Condi at Versailles, of Corneille at Rouen, of La Fayette at Washington, of A rmand Carrel at St. Mand^, where the famous political writer was killed, and of the busts or medallions of all the contemporary celebrities, ought to occupy a distinguished place in the Museum of France, especially when we remember

Fig. 62. — Pediment of the Pantheon, by David.

that, like Puget and Poussin, he combined great talent with a noble mind and an independent spirit, and, like his illustrious predecessors, he has left an example of a stainless life from birth to death.

To carry our account of French sculpture down to the present time we have only to add that MM. Guillaume, Perraud, Carpeaux, Crauk, Fal- guiire, Gumery, Aim^ Millet, Thomas, Paul

FRENCH SCULPTURE. 335

Dubois, &c., who obtained the highest distinctions at the Universal Exhibition of 1867, have main- tained their art on a level with that of French painting, namely, in the first rank amongst all nations.

INDEX OF SCULPTORS AND SCULPTURES.

PAGE

Abtdos (Sepulchres of) . . . . . . • 36

Achilles (Statue of) 98, 99, 100, loi, 116

Acropolis of Athens 153,158,161,180

Adam (Lambert Sigisbert) ...... 322

(Nicolas Sebastien) ....... 322

Addison (Tomb of) 277

Adonis (Statue of) 261

Adrian of Vries ........ 294

MginsL (Marbles of ) . . 81, 82, 83, 84, 85, 86, 89

Agamemnon (Statue of) . . . . . . .122

Agasias .......... 100

Ageladas 78, 79, 80, 91

Agesander ......... 141

Agnolo of Siena . . . , . . . . . 202

Agostino of Siena ........ 202

Agrates or Agratus ........ 208

Agrippa (Statue of ) . . . . . . . 192

Agrippina (Statue of) 183, 184

Albano .......... 227

Alberto Pio (Tomb of) ...*... 306

Alcamenes 98, 120, 144, 167

Alcibiades (Statue of) 120

Alexander (Statue of) 119, 197

Alexander and Diogenes (Bas-relief) . . . . - 3^S

Alfieri (Tomb of) 136

Algardi ......... 227, 315

Alhambra (Lions of the) 238

INDEX.

AUegrain (Chretien).

"Altar of the Twelve Gods "

'* Amazon attacked by a lioness'

Amazons

Amenophis (Image of)

Amenti (Assessors of

Ammanato

Ammon Ra (Figure of)

Amphicrates .

Amset (Head of)

Amten (Tomb of)

Andrea of Pisa

Andre (Monmnent to)

Aneka (Figure of)

Anguier (Fran9ois)

(Michel) .

Anochus (Statue of) Anthermus AntinoUs (Statue of) Apelles .

Aphrodite (Statue of] ApoUino (The) Apollodorus . Apollo and the Swan

Belvedere . . 95

. (The bronze)

Citharoedus

descending to Thetis

(The Didymaean)

Epicurius

(The Lycian)

Pamopos

(The Pythian)

of Rhodes

Sauroctonos

(Statues of)

ApoUonius

"Arcdel'EtoUe'MThe) Argenti . ,

13O1

131.

94»

77,

337

PAGE

123

258, 260

137 26

36,40 226

30 90

36

9,40

202

274

30

307, 308, 309

307, 308, 309, 310

79 . 75 184, 185, 191, 192, 196

. 122 104, 122

13I1 132, 133 . 130

• 145 138, 139, 140, I4i» 230

. 140

• 148 . 317

• 79 . 151

107, 108

. 168 107, 188, 189, 140, 235

. 112

. 107 107, 211, 262, 294, 323

. 157

. 332 ♦ . 237 Z

338 INDEX.

PAGE

"Ariadne on the Panther" .... 254,255,256

(Statue of) 332

Aristseus . . . . . • . . . 117

(Statue of) 329

Aristides (Statue of ) . . 148

Aristocles ......... 79

Aristomedon ......... 78

Assyria (Bas-reliefs of) . . . 53, 54, 55, 56, 57, 59, 270

Athene (Statue of) 77

Athenodorus ......... 142

Athens (Terra-cottas of) . . . . . . •43

" Atlas sustaining a celestial globe " . . . . .148

Atum (Figure of) ........ 30

Aubert (Bust of )..►... - . 327

Augustus (Statue of) 184, 187

Auxesia (Figure of) 86

"Aux grands hommes la patrie reconnaissante " (Bas-relief)

233» 234 "Awaking" (The) 299

Bacchante (A) 332

Bacchus (The Drunken) . . . . . .212, 223

(The Indian,- or Bearded) . . . . . .110

(Statue of) 110,156,205

Baerz (Jacques de) . . . . . . . . 267

Balbiani (Valentine, Tomb of ) . . . . . . 303

Balbus (Statues of ) . . . • . . . . .186

Bartholomew (Saint, Statue of) 208

Bartolini. • 237

Barye (Antoine Louis) 330, 331

Basilicata (Vases of the) .'66

Bas-reliefs by Anselm . ' 202

" Battle of Assur-Akh-Bal " (Bas-relief) . . . .56

• • of the Centaurs and Lapithae " . . . . . 151

" of the Greeks and Amazons *' . . . . •15*

Becerra (Jasper) 240, 242, 245

Begas' . 256, 261

Bernini (Lorenzo> . . . 100, 129, 226, 227, 228, 261, 286 Berruguete (Alonzo) . . . . . 240, 241, 242, 245

INDEX. 339

PAGE

Berulle (Tomb of) 307

Birague (Ren^, Tomb of ) . . . . . . , 303

" Birth of Pallas " (Parthenon) . . . . 167,168,169

" Birth of Venus " . 122

Blucher (Statue of) 257

Boar (The, of Florence) . . . . . . .124

Bogaert (Martin Van) . . . . . . .321

Bonnassieux (Jean Marie) . . . . . . '331

Bosio (Joseph). ........ 329

Bouchardon . . . . . .321, 322, 323

Boucher .......... 323

Bossuet (Bust of) ........ 316

Boutellier (Jean) ........ 289

"Boxers" (The) 229

Briaxis .......... 152

Brunelleschi . * . . . . . . . 202, 214

Brutus (Statue of ) 211,221

" Bull " (The Bronze of Perillus) 75

Bulow (Statue of) . 257

Buonarotti (Michael Angelo) 97, 133, 139, 141, 142, 145, 179, 184, 202, 210, 211, 214, 215, 216, 217, 218, 219, 220, 221, 222, 223, 224, 226, 236, 237, 239, 240, 261, 276, 286, 292, 293, 295» 306, 311, 312, 315.

Bupalus 75

Butler (Tomb of ) 277

• • Byblis changed into a fountain" ..... 330

CiESAR (Bust of) 183

(Statue of) 184, 186

Calamis .......... 140

Cafiieri (Jacques) . . . . . . . .321

Caligula (Bust of ) . . . . . . . .182

(Statue of) 189

Callicrates 158, 168, 271

Callo . . 81, 87

Calvary of Spires ......... 250

of St. Roch 308

Camden (Tomb of) ........ 275

Canachus ... ..... 79

340 INDEX.

PACK

Canino (Vases of) .••.... 43> 66

Cano (Alonzo) 245, 247, 248

"Canopi" 35» 36, 37

Canova (Antonio) 97, 148, 220, 228, 229, 230, 231, 232, 233, 234,

236, 237> 255, 261, 280, 282, 323. "CapitolineTablete" (The) . . . ' . . -33 Captives (The, by M. Angelo) . . . 218, 221, 293, 295

Caracalla (Bust of) 193

Carpeaux 334

Carrel (Armand, Statue of) 334

Caryatid (A) 156

Caryatides (by Puget) ' • . . . . . • 3^5

Casaubon (Tomb of) . ...... 277

Castor and Pollux (Statues of ) . . . . . .184

Cavelier (Pierre Jules) . . . . . . .331

Cecrops (Torso of) 176

Cellini (Benvenuto) 225, 229, 292

Centaur (A) 117

Cephisodotus ......... 133

Cervetri (Vases of) 43, 65

Caere (Antiquities of) . . . . . . 43, 65

Chabot (Statue of) 306

Chambres (Helen de, Tomb of) . . . . .291

Chantry .......... 280

Charles V. (Triumphs of, Bas-relief) ..... 241

the Bold (Tomb of) 244, 265

IX. (Bust of) 305

Chares .......... 112

Charon (Statue of ) . . . . . . . . 322

Chastity (Statue of ) 114

Chatham (Tomb of ) 275

Chaucer (Tomb of ) . . . . . . . . 277

Chaudet (Antoine Denis) ....... 329

Chephrem (Statue of) 80

" Chevaux de Marly or Ecuyers " 318

Child's Bust by Pilon 268

• • Chimaera " (The) 38, 52, 63, 149

Chimney-piece by Glosencamp 268

Chons (Figure of) 30

INDEX. 341

PAGE

" Christ and the Twelve Apostles " .... 197,262

• • beneath the Shroud " 227,280

Christ by Bouchardon .....•, 323

by Fa Presto 227

byM. Angelo 216

on the Cross 308

Chrysothemus ......... 78

" Circumcision " (The) 291

Citium (Antiquities of) 60, 61

Claux de Vousonne . . . . . . . . 267

Clement XIII. (Tomb of) 239

XIV. (Tomb of) 229

Cleomenes . , . . . . , ' , 130, 133

Cleosthenes (Statue of) 79

Cleves (Comeille Van) 322

Colbert (Bust of) 308

(Tomb of) ....... , 316

CoUeoni (Statue of ) . . . . . . . 206, 207

Colomb (Michault) 290, 292, 296, 306

Colomban (Andr^) 290

Colossi of Khorsabad 47> 50, 52

Conmiines (Tomb of) . . . . . . .291

• • Conclamatio" (Bas-relief) 194

Cond^ (Statue of) . . . • 334

(Tomb of) 307

Congreve (Tomb of) 276

• • Consolatrice " (La) ....... 230

Constance

Constantine (Compound Statue of) 198

Constant

Corinna (Bust of) 329

Comeille (Statue of) 324

Comeilles (Busts of the) . . . . . . .321

Cornelius ......... 253

Comewall (Captain, Tomb of) 273

Corradini (Antonio) ........ 228

Cortot(J.) 330

Courtenvaux (Tomb of )...... . 308

Cosmo (Saint, Statue of ) 214

342 INDEX.

PACE

Coudray (Fran9ois) ........ 322

Cousin (Jean) 301, 302, 306

Coustou (Nicolas) 318, 319, 321

(Guillaume) 318, 319

"Cow of Myron" .80

Coysevox (Antoine) . . . . . . 316, 317, 321

Crauk 324

Croix (Hennequin de la) . . . . . . . 290

Cuneiform Inscriptions ....... 60

• • Cupid and Psyche " 326

clipping his wings ....... 331

(A sleeping) 213

seizing a Butterfly ....... 329

tormenting a soul ....... 331

(A Victorious) ........ 324

Cupids .......... no

Cypselus (Carved Chest of) 77

Cyprus (Terra-cottas of) 43

Dameas 77

Damia (Figure of ) . . . . . . . ' . 86

Damian (Saint, Statue of ) 214

Damoxenus and Creugas" 229

Dannecker ......... 254

Dantan (Antoine Laurent) ....... 333

"Daoiz and Velarde" 247

" Daphnis and Chloe " 330

David (by Francheville) 309

(by M. Angelo) 213

(by Donatello) . . 203

(Louis) ......... 329

Pierre Jean . . . . . . . .333

Davy (Tomb of) 275

•* Day" (by M. Angelo) 214

Decker (Hans) 250

"Dsedali" 74

Daedalus 72, 74, 76, 81, 87, 201

'* Daedalus and Icarus" 229

De la Croix (Hennequin) ....... 290

INDEX. 343

PAGE

Delos (Terra-cottas of) . . . . . . • ^43

Delia Robbia (Luca) 202, 204, 205

Demigiano ......... 291

Demosthenes (Statue of ) 119

Denis (St., Gate of) 308

"Departure" (The, Bas-relief) 332

• • Deposition from the Cross " 297

Desboeufs (Antoine) 331

" Descent from the Cross " 251

Desjardins ........ 321, 322

De Thou (Tomb of ) . . 308, 309

• • Diana at the Bath 325

of Ephesus . . . . . . . 90, 97

Huntress ... 94, 95, 97, loi, 109, 137, 140

of Gabii 109

with the Stag . . . . . , 94^ 95

Statue of 127, 296, 326

Dipaenus. ..... ... 77> 78

" Discobolus " (The) 118

"Dispute of Poseidon and Pallas" .... 168,174

Djizeh (Sculptures of )..... . 5, 10

Dogs (Bronze) . . . . . . , . , 296

Domitian (Statue of) . . . . . . . 192

Domitius Corbulo (Statue of) 192

Donatello . . ... 202, 203, 204, 214, 224

Dontas 78

Doryclidas . . . . . , . . .78

" Doryphorae " (The) 98

Drake (Fred) 255, 258, 261

Drogues (Jehan de) 268

Dryden (Tomb of) 277

Dubois (Paul) 334

Dumont (Alexander) . . . . . . .331

(£dm^) 322

Dupaty (Charles) . . . . . . . 330, 332

Dupre 237

Duret (Fran9ois Pierre) 331

Diirer (Albert) . . . . . . ,251, 252

(Statue of) 257

344 INDEX

PAGE

"Early Dawn" (by M. Angdo) 214

Egypt (Black Lions of) .... . .184

(Pyramids of) ......,• 9

"Elfin Dance" (The) 203

Elizabeth (Tomb of) 273

Endceos . , . . . . . . • • 90

Ensahor (Statue of) 28

" Entrance of Alexander into Babylon " ' .... 262

Epeus .......... 122

Epicurius (Statue of) 121

Erectheum (Portico of the) . • . . . • '54

" Erection of a Colossal Bull " (Bas-relief) .... 56

Erwin of Steinbach 249

Euchir .......... 78

Eutelidas 78

Evangelists (Statues of the) . . ■ . . . 206, 297

• • Evening" (By M. Angelo) 214

Falconnet (Etienne) 321

Falqui^re 334

Fa Presto (Luca) 227

Faun's Head (by M. Angelo) 210,211

" Faun with the Child " 114

(The Dancing) . . . . . . 143, 144, 294

(The Drunken) ........ 144

~ (The Musical) 132, 133, 140

Fauns (Two dancing) - 114

Faustina (Statue of) 193

Fenelon (Bust of) 316

Ferdinand of Arragon (Tomb of) ... . 243, 244

Fiers 269

"Fishinanet" 280

Flaxman ......... 280

" Flayed Man " (The) 326

Flora (The Famese) . . . . . . 112,145,146

Florence (Ba!ptistery of) ...... . 203

" Fontaine des Innocents " 299, 300

de Moli^re ........ 332

• • de la Rue de Crenelle" ...... 323

INDEX. 345

PAGE

"Force" 308, 331

Foyatier 333

Fra Barduccio Cherichini (Statue of ) . . . . 204

• • France " (Bas-relief) 332

Francheville (Pierre) 309

Fran9ois de Bretagne (Tomb of) 290

Fremier (Emmanuel) 331

Frederick the Great (Monument to) .- . . . .257

William III. (Statue of ) 258

Friendship " (Statue of ) 293

((

" Ganymede and the Eagle " 14S

Garrick (Tomb of) 278

Gatteaux (Nicolas Marie) . . . . . . -331

Gay (Tomb of) 277

Geefs 269

Genevieve (Saint, Tomb of ) . . . ' . . . 305

" Genius of Eternal Repose " 113

" Genius of Liberty " ....... 331

George (Saint, Statue of) 306

Geta (Statue of )....... . 193

Ghiberti (Lorenzo) 202, 203, 267

Giam-Bologna . . . . . . 293, 294, 309

Gines (Juan) ......... 247

Girardon (Fran9ois) 105, 112, 317

Giovanni of Pisa ........ 202

Gladiator (The Dying) 136

(The Fighting) .... 98, loo^ loi, 117, 140

Glaucias .......... 81

Glaucus . . . . . . . . . •75

Glosencamp (Hermann) 268, 269

Glycon . . . 145

Gnidus (Venus of) ....... 105, 324

Goethe and Schiller (Statues of) . . . . 259, 260

Gois (Adrian) 329

Goldsmith (Tomb of) 277

Goujon (Jean) .... 267, 296, 297, 299, 300, 301, 307 " Graces " (The Three) , . . . 79, 120, 252; 262 Gray (Tomb of) 276

346 INDEX.

PACK

Gruyere (Charles) 332

• ' Guardian Angel leading a Repentant Sinner to God " . 332

Guillain (Simon) 307, 309

Guillaime ......... 334

Gunnery 334

Gutenberg (Statue of ) . . . . . . . 262

Guyot de Beaugrant ....... 269

Hadrian (Statue of) 184

Handel (Tomb of) 279

Hapi(Headof) 36

Harcourt (Tomb of). ....... 325

" Harmodius and Aristogiton " . . . . • 90

Harpocrates (Statue of ) . . . . . . 137

Harpy Tomb (The) . 149

Hathor (Figure of) 29, 30

Hector (Obsequies of, Bas-relief) ..... 122

Hecuba (Statue of ) . . . . . . . . 137

Hegias or Hegesias ........ 90

Henri II. (Bust of) ' . . 297, 305

III. (Bust of) 305

IV. (Bust of) .309

IV. (Statue of ) 309

Henry VII. (Tomb of) 273, 280

Heracles (Statue of ) 77

• • Heracles crowned by Glory " . . . . . . 320

(The Famese) 93, 145, 146

(Head of) 306, 307

in Repose . 312

on the Pile 320

vanquished by Love . - . . ... 322

(Various statues of ) .... 84,110,213,321

Hermabicippus (A) . • 120

Hermaphrodite (The Borghese) 1 14

"Hermes" 119, 120

Hippomachi of Lysippus 1 11

• • Homer in rhapsody " 329

Horus (Statue of) 2S, 30

Houdon (Jean Antoine) . . . 325, 326, 327, 328, 332

INDEX,

347

Huez (Jean Baptiste) Husson (Jean) . Hyacinthus (Statue of) Hygeia (Statue of) . Hyperion (Head of).

ICTINUS .... " Idolino " (The) . Ilyssus (Figure of, Parthenon) ♦* Improvisatore at the Vintage " Innocence (Statue of) Iris (Statue of) Isis (Figure of) Ivory Group by Diirer

Jacquot (Georges) .

• • Jaguar devouring a Hare "

Jaley (Leon Louis Nicolas)

Jerome (Saint, Statue of) . Jason bringing home the Golden Fleece " — carrying away the Golden Fleece (Statue of)

((

Jean de Boulogne (See Giam Bologna)

" Jesus bearing His Cross "

Joan of Arc (Statue of ) .

John the Baptist (Statue of)

John the Fearless (Tomb of)

Johnson (Tomb of ) .

• • Juana la Loca " (Tomb of)

Juan de la Huerta

Judith (Statue of) .

Julia (Statue of)

Julius II. (Statue of)

(Tomb of)

" Junction of the Seine and Mame " Juno of Argos (Statue of)

of the Capitol (Statue of) .

of Samos

(Statue of ) . . .

PAGE

329 148

158, 168, 271 . 62

i7S» 176 • 331

33 1 » 332 . 173 . 30 . 252

332 330

332

239 261

256

117

. 321 . 332

203, 204 244, 266, 268 . 277

242, 266

. 268

. 203

. 189

113, 217, 218

216, 217

. 318 . 97

r 137 160, 220

. 294

348 INDEX.

PACK

Jupiter Olympins (Statue of) 77, 97, iii, 158, 159, 160, 220

Panhellenios (Statue of) 82, 83

Serapis (Statue of) 148

Juste (Jean) 291

Justice (Statue of) 308

Kaeschmann (Joseph) 256

Kalah Sheigat (Obelisk of ) 59

(Statue found at) . . . . . -59

Kaiaml^ (Relics from) 50

Kamak (Hypostile room at) ...... 29

(Temple of) 5,11,27

Kebsnif (Head of) 36, 37

Kertch (Palace and Tomb of) 43

Khoisabad (Colossi of) 47, 50, 52

(Palace of) ....... 47, 48

Kneller (Tomb of) 275

" Knife Grinder " (The) 135, 136

Kojrunjik (Palace of) 50

Krafft (Adam) 250

Krater (The Silver, of Delphi) 75

La Fayette (Statue of ) . . . .* . . . 334

"Laocoon" (The) . . loi, 127, 140, 141, 147, 181, 235, 313

"LaLotta" 133

Laphaes 78

'* Latona and her Children " (Parthenon) . . . .176

Lebrija (High Altar of) 246

Lebrun (Bust of) 317

'*Leda and the Swan" 321

Legendre (Roberte, Tomb of) 29

Lemaire (Philippe Henri) 332

Lemonturier ( Antoine) . . . . . . . 268

Leonardo (Alessandro) . . . . - . 206

Leochares ......... 152

" Life of the Virgin " (Bas-relief ) 290

Livia (Statue of) ........ 189

Ligonier (Lord, Tomb of) 274

Lion devouring a Boar " ...... 330

(<

INDEX.

349

PAGE

• • Lo Zuccone "...

Longueville (Henri, Monument to) Lorenzo de Medici (Mausoleum of) Louisa of Russia (Tomb of)

(Statue of)

Louis XII. (Tomb of) (Statue of)

XIII. (Statue of)

XIV. (Statue of)

XV. (Statue of)

Luccardi

Lucius Verus (Bust of)

Luther (Statue of) .

Lydian Tomb (The) .

Lysippus.

204 . 308

214 . 256 . 256 . 291 . 291

. 307

242, 307. 316, 319

. 319

• 237 . 192

• 257 64

no, III, 119, 120, 151, 259

Macaulay (Tomb of) 277

Madeleine de Savoie Tende (Tomb of) .... 309

• • Madonna adoring her dead Son " . . . . . 260

of Bruges ....... 222, 224

della Piet^L 215

holding the Infant Jesus 205, 240

-; — of Naples ........ 262

• • Magdalene " (Repentant) .... 236, 255, 280

Magny (Tomb of) ........ 306

Manetho (Tables of) . 9

Mansfield (Tomb of) 274

" Mano de la teta " 240

Marcus Aureliiis (Equestrian Statue of) . . . . 1S4

(Statue of) 186, 188, 189

Maria Christina (Tomb of) . . . .231, 232, 282

Leczinska (Statue of) . . . . . '319

Marius (Trophies of) 184

Mark (Saint, Statue of) 203

Marochetti (Baron) 282

Marriage of the Virgin (Bas-relief) 291

Mars (Statue of) 136, 261

Marsyas (Statue of ) . . . . . . . .117

(The Bound) . 118

350 INDEX.

PAGE

Mary of Burgundy (Tomb of ) . • 244, 265, 266

Stuart (Tomb of ) 273

(The Virgin, Statue of) 3^3

wife of WiUiam III. (Tomb of) 273

Mason (Tomb of) 277

MatUdia (Bust of ) '93

" Massacre of the Innocents " . ... . . 247,291

Maurice of Saxony (Bust of) $25

Mausolus (Mausoleum of) . • • • • .152

Maximilian (Statue of ) 257

Mazarin (Tomb of) 3^^

Medici (Tombs of the) 214,280

Medon 7^

Melas 75

Mdeagcr (Statue of ) H5

Memnon (Statue of ) 26

Memphis (Sepulchres of) 3^

Menephtah (Statue of) 27

Mentichetes (Sepulchral Room of ) 4©

" Mercury attaching the wings to his heels " . . .321

carrying off Hebe 295

(The Flying) ........ 295

and Psyche ^95

of Rome ^4©

(The Seated) ^44

(Statue of ) . . . . 1 10, 142, 262, 294, 332

" Metrodorus and Epicurius " (Statues of ) . . . .121

Meyt (Conrad) 290

Micciades .....•••• 75 Michael Angelo {See Buonarotti)

Mignard (Bust of ) 3^7

MiUet (Anne) 332, 334

MUo (Statue of) 77

of Crotona (Statue of) ... • 3i3> 3I4» 324

MUtiades (Statue of ) "^

MUton (Tomb of ) . . • .', * ' ' ^77, 278 "Minervaafter the Judgment of Paris" . . . -331

of Athens 90, 97, 160, 220

Hellotis '°7

INDEX.

Minerva (The Lemnian)

Polias

Promachos

(The Warrior) .

with the Necklace

(Various Statues of)

Modesty (Statue of)

Moitte .

Moliere (Bust of)

Montanes (Jean Martinez)

Montelupo (Raffaello da)

Montmorency (Tomb of)

Montorsoli

• • Monument of the Pont au Change

Monuments of Xanthus

Moses (Statue of ) . . 212,

Mouth (Figure of )

Munt (Figure of)

Muses (The Nine)

Mutius Scaevola (Statue of)

Myron .

Naiad (A)

Naucydes

Neith (Figure of)

Nemesis (Statue of)

" Neptune calming the Waves "

(The Colossal, by Ammanato)

(Torso of)

" Nereides " .

Nero (Statue of)

Nesa (Statue of)

Nesrok (Statue of)

Newton (Tomb of)

Nicolas of Pisa

Nightingale (Tomb of)

" Night " (By M. Angelo)

Nike Apteros (Fragments of, Parthenon)

(Temple of ) .

351

PAGE

155

97, i55» 157 158

55, 158, 159 107

84, 8s, 97, 137, 176

227, 332

332 328

245 2x4

309 214

307

150, 151 218, 219, 220, 223, 239

. 30

• 30 X, 121, 262

• 332 78, 80

• 332 . 1x8

30, 137 III

. 322

. 226

. 176

122, 298

190, 192

9,27

. 58

275, 276

79, 202, 250

281

214

176

155

352 INDEX.

PAGB

Nile (Statue of the) 113

Niobe and her Children .... 125, 126, 127, 128

(A Son of ) . . . . . . . . 332

Nisus and Euryalus (Statues of ) . . . . . . 330

Nola (Vases of) 439 66

'* Nuestra Seiiora de la Solidad " 242

Num (Figure of) ........ 30

Nuremberg (Fountain of ) . . . . . . 250

Nupte (Figure of) ........ 30

" Nymph of Fontainebleau " (The) . . 225,226,292

• • Nymphs of the Seine " 298, 299

Cannes (Temple of) 49

Olivieri (Pietro Paolo) 293

Onatas . . . 81, 87

Orpheus (Statue of ) . . . . . . 309

• • Orator " (The) 63

Orcagna (Andrea) ........ 202

" Order »' (Statue of) 331

Osiris (Figure of ) . . . . . . . -30

(Statuette of) 30

Otho (Bust of) 182

Overbeck 253

Pasht (Figure of) 30

Pajou (Augustin) ........ 324

Palissy (Bernard) ... ^ ... . 204

Palladio 180

Pallas of Velletri 106

Pantheon (Pediment of the) 333

Paoli (Pisquale, Tomb of) 274

Papias 117

Parcae (Statues of the) I73> I74» 175

Parthenon (Cella of the) .... 162,163170,178

(Frieze of the) .... 162, 163, 164, 167, 170

(Metopes of the) 162,165,166,167,170,178

(Pediments of the) 162, 167, 168, 169, 170, 171, 174, 176, 178

(Various Sculptures of the) 151, 153, 154, 157, 159, 161, 170,

172, 178, 179, 270.

INDEX.

353

of)

Pascal (Statue of) .

Passion (Bas-reliefs of the)

Paul III. (Tomb of)

• • Peace " (Statue of)

Pedro de Machua

Pensevau (Statue of)

"Pensieroso" (The)

Perillus .

Perrand .

• • Persephone and Demeter" (Statues

Perseus (Statue of) .

and Andromeda

cutting off the Medusa's Head

delivering Andromeda •

Peter the Great (Statue of) Petitot (Messidor Lebon) . Pheidias 78, 80, 87, 89, 90, 93, 97, 98, iii,

152, 155. 157, 158, 159, 162, 167, 168, I

285* 297, 315, 317. Philibert le Beau (Tomb of) Philippe de Chabot (Mausoleum of) Philip 4h€ Handsome (Tomb of)

the Hardy (Tomb of)

Philopoemen (Statue of) .

Phiteus ....

Phre (Figure of)

Phtah (Figure of) .

Pierre de Brez^ (Tomb of)

Pierre Jacques .

Pigalle (Jean Baptiste)

Pilon (Germain)

Pisa (Pulpits of)

Pius VI. (Tomb of) .

Plautilla (Bust of) .

• • Pluto carrying away Proserpine

Plutus (Statue of) .

Pomona (Statue of) ,

Polycles .

Polycletus

PACE

• 331 . 250

. 280

• 330 . 241

. 28

214

75 . 334 . 172 229, 230 . 312 . 225

. 313 . 321

• 332 114, 124, 130, 151,

77, 179, 180, 271,

. 290

. 302

. 243, 244

244, 266, 267

• 334

301 !

. 152

. 30 . 30 . 301, 302 . 306 321, 325, 326 302, 303, 305, 321 . 202 . 229

. 193

• 317 '. 322

. 332

. 114

78, 80, 98, 1 14

2 A

354

INDEX.

Polydorus

Polyhymnia (Statue of)

" Polyphemus on the Rock "

Pompey (Bust of ) .

Poniatowski (Statue of)

Pope (Tomb of)

Porta (Giacomo della)

Poucher (Tomb of) .

Pradier (James)

•* Prayer"

Praxiteles 87, 90, 93, 105, 108, 110, 126, 130,

285, 324.

• • Presiding Spirits of the Games "

" Praetorian Soldiers " (The, Bas-relief) Prieur (Barthelemy) ....

• • Progress of Civilization " (Bas-relief)
  • Prometheus and the Vulture ".

Psammetichus-Mouneh (Statue of) " Psyche and Cupid "

deserted by Cupid

(Statue of)

with the Lamp .

PAGE

142 112 322 182 262 277

145 291

332

332 133, 144, 152, 209,

122 . 194

• 309 270

. 322

28

. 324

• 331 324, 332

" Pteron " (The)

Ptolycus .

Puget 220, 286, 307, 310, 312, 313, 314, 315,

323. 334. Pupienus (Statue of)

Pythis

Ra (Figure of)

Ra-em-Ke (Statue of)

Rameses-Meiamun (Statue of)

Rameys (The two) .

Ra-Nefer (Statue of)

• • Rape of a Sabine "

Ranch (Christian)

Ravi (Jean)

Rene Birague (Tomb of)

• • Repose in Egypt " (After A. Durer)

. 326 . 152

. 81 316, 320, 321, 322,

190, 197 152, 153

. 30

. 7,9 26

• 333 . 41

• 294 255, 256, 257, 260

. 289

• 303 . 251

INDEX.

355

PAGE

Rhaecus ....

Rhytons ....

Richelieu (Bust of ) .

Rietschel (Ernest)

" River god pouring water from

Roland (P. L.)

Roman (P. L.).

Rome (Vases found at)

Rosetta Stone (The) .

Rotator (The) .

Rotrou (Bust of ) .

Roubiliac

Rousseau (Jacques) .

(Bust of Jean -Jacques)

Rowe (Tomb of) Rude (Fran9ois)

Sabina of Steinbach

• • Saint Andrew before his Cross

• • Saint Sebastian at the Pillar"

(Statue of)

Sakkara (Pyramid of)

Salmacis (Statue of) .

Samoun (Sepulchres of) .

Sansovino (Jacobo Tatti) .

Sappho (Figure of)

Sarcophagi

Sarrazin (Jacques)

Saxe (Marshal, Tomb of)

Satyrus .

Scarabseus

Schadow.

Schafra (Statue of)

Schamost (General, Statue of)

Schuffer (Sebald)

Schwanthaler .

Scopas .

Sculptors of Greece (Statues of)

Scyllis ....

his urn "

J)

202,

255,

74 66

316

260

. 321

• 329

• 330 . 66

38, 39, 40

i35» 136 321

279

322

326

277 332

249 322

322

205

9,40

114, 329

205, 206, 220, 224, 226

. 142

34, 35, 38,' 193

. 307, 310 280, 326

. 152

• 32

• 255 8, 9, 41

. 257 . 250 . 255 126, 130, 152 . 260 77, 78

356

INDEX,

PAGE

Seb (Figure of)

• • • ■

. 30

Sebald (Saint, Baptistery

of) . . .

. 250

(Saint, Tomb of)

•

• • • « 

4

. 250

Seguier (Bust of)

■ • • fl

• 307

Selinuntium (Temple of)

• • ■ I

. 43

Sepa (Statue of )

• • • ■

9, 27

Septimus Severus (Bust o

f) . . .

. 192

" Sermon of Saint Paul at Athens " .

• 30s

Sesurtasen (Statuette of)

. 26

Seti I. (Tomb of) .

.29

II. (Statue of) .

. 27

Seth (Figure of)

27, 30

Sethos (Statue of) .

. 27

Sevekhotep (Statue of)

26, 29

Shakespear (Tomb of)

277, 278, 280

Sheemakers

276, 278

• • Shepherd Phorbas canying away the youn

g Oedipus " . 329

Sheridan (Tomb of) .

• • • « 

. 277, 278

• * Siege of a Town " (B^-relief )

. . ; 56

Siena (Pulpits of) .

• • ■ I

. 202

Sigean Inscription (The)

• • • <

. 155

• • Silenus with the young

Bacchus " .

. 114

Simart (Charles)

• • • <

. ■• 333

Simmias .

• • • 1

. 90

Siumutf (Head of)

• • • I

36,37

•* Sleeping Penelope " (The)

• 331

Sluter (Claux) .

. 267

Smilis of i^gina

. 81

Socrates (Statue of) .

. 120

Sola (Antonio)

... 247

Sopers .

. 269

Sophroniscus .

. IS9

Sphinx .

. s, 27, 41, 45, 53

Spartacus (Statue of)

• 333

Spenser (Tomb of) .

. 277

Spy (The) .

• 135, 136

Stanhope (Tomb of)'

. 274

"Statuaelconicae" .

. -^18, 182, 187

• Stelae "

5, 32, 34, 35

INDEX. 357

PAGB

Strasbourg (Cathedral of) 244

Strazzi .......... 237

•* Struggle between Saint George and the- Dragon " . . 290

• • Suovetaurilia" (Bas-relief) ...... 194

Susannah (History of, Bas-reliefs) . ... . ' 269

Synnoos ........*. 81

Tablets (Assyrian) S3» 54* 57» 59

Taho (Sarcophagus of ) . . . . . . -35

Tapheru (Figure of) . . . . . . .29

Taur (Figure of) 30f 38

Tauriscus .... i ... . 147

Telecles .......... 74

Terpsichore (Statue of) 255

Teti (Statue of ) 28

Texier (Jean) ......... 291

Thalia (Statue of) 121

Thebes (Sepulchres of) . . . . . . ii» 36

Theocles 78

Theodoras 74» 7Sf 76, 78

• • Theseus killing the Centaur Eurytion " . . . . 234

conqueror of the Minotaur .... 233, 234, 235

Thevenin de Saint Leguier (Tomb of) . . . . 290

Thierry (Jean) 321

Thomas 334

Thompson (Tomb of) 277

Thorwaldsen (Albert Bartholomew) . 82, 237, 261, 262, 263

Thoth (Figure of) 30

"Tiber "(The) 113

Tiberius (Statue of) . . 188

Timosithnge (Statue of) 79

Timotheus . . . . . . . . . 152

Tiridates 191

• • Titan struck by thunder "....,. 322

Titus (Statue of) 190

Tomb by Puget 315

• • Toro Famese" (The) .... 146,149,181,314

Torregiano ..... 224, 239, 240, 273, 280 Torso (The Belvedere) 143, 175

358

INDEX.

• • Transfiguration of our Saviour **

Trebatti (Paul Ponce)

Tremouille (Charlotte, Tomb of)

"Tritons" .

• • Triumphant Rome "

• • Triumph of Maximilian II.'*

"Truth" (Statue of)

Turenne (Tomb of ) .

Un-Nefru (Statue of) "Union" (Statue of ) Urania (Statue of ) . Urban VIII. (Tomb of) . Ulysses bending his Bow "

<<

Van Bogaert (Martin) Vase (The Grecian)

with three Graces

Vases (by Cellini)

(Etruscan)

Vela .

Venus of Amathus

Anadyomenes

at the Bath

Callipygos

of Capua .

(The Chaste)

(A Draped)

Euploea .

Genetrix .

of Knidus

leaving the Bath

a Libertin

of Medici

of Melos .

of Praxiteles

of Troas .

Victrix .

Venuses (Two Marine)

92

93» 94

PAGE

. 241

305, 306

. 303 . 298

. 186

. 251 308, 331

. 227

. 28

. 308

. 112

. 227

. 322

. 321

. 6i

. 303, 304 . 226

64, 65

. 237

. 97

. 122

• 325

. 144

. 144 . 148

. 105

. 105

. 105

\ 80,

97, 105, 324

136, 138

. 105

93, 128, 129, 130, 140, 145

, 95» 97, loi, 104, 129, 140

. 130

. 105

» 1

92, 104, 105

105

INDEX.

359

Verrocchio (Andrea).

Vesta ....

" Vetri Antichi " .

• • Victories "(Six marble) .

Victory (A, by M. Angelo)

"Victory" (A Winged) .

Victorious Alexander (Statue of)

Vigami (Filippo)

Vinache (Joseph)

Vine (The Golden, of Sardis)

• • Virgin adoring the Infant Saviour "

(Bust of the) .

holding the Holy Child "

nursing the Infant Jesus "

Vischer (Peter) Visitation (The, bas-relief) Voltaire (Bust of ) .

(Statue of)

Vvdcan (Statue of) .

"War".

Warren (Eliz. Tomb of) . Washington (Statue of) Watt (Statue of)

(Tomb of)

Wellington (Equestrian Statue of)

(Statue of)

Westmacott (Sir Richard) . Wiener .... Wilberforce (Tomb of) Wilkie (Statue of) . William III. (Tomb of ) . Wolf (The Etruscan) Wolfe (General, Tomb of) "Wrestlers" (The) . Wyatt (Tomb of) .

Xanthus (Monument of) .

YoRCK (Statue of ) .

lOI,

I33»

75

34, 141, 229,

PAGE 206

68

257 218

» 173

314

239 322

75 205

329 246

214

25b

291

328

325 294

330 280 328 280

275 272

272

270, 271

269

275 271

273 186

274

235 276

150* 151 . 257

360

INDITL.

«r

" Young Fisher dancing the Tarantella "

playing with a Tortoise " .

" Young Girl frightened by a Snake " ' with the Stag

«(

Young Hunter playing with his DQg " wounded by a Snake

«(

Young Neapolitan Dancer "

•* Zephyrus carrying off the Sleeping Psyche " Zeuxis .......

" Zodiac of Denderah ' ' (The) .

PAGE

332 332 323 331 332 331

256 118

39, 40

THE END.

LONDON : PRINTBP BY WILLIAM CLOWES AND SONS^ STAMFORD STREET AND CHARING CROSS.

See also

• Sculpture