725 



STIGAND. 



STIGLMAYER, JOHANN BAPTIST. 



72<5 



Hia method of resolving quadratic equations is by completing the 

 square, as is done at present. 



He treats at some length of what are called triangular numbers, 

 that is, of adjacent columns of numbers constituting various progres- 

 sions : thus the numbers in the first column may form an arithme- 

 tical progression beginning with 1 , and having unity for the common 

 difference; the second column may begin with 3, and the successive 

 differences of the numbers may be be 3, 4, 5, &c. ; the third column 

 may begin with 10, and the successive differences may be 10, 15, 20, 

 &c., and so on, the head of each column being opposite to the like 

 uumber in tho adjacent column preceding it. He explains the use of 

 the table in discovering the coefficients of the several terms in any 

 powers of a binomial quantity, and in extracting the roots of numbers; 

 and it may be observed that such tables have since been made to serve 

 several other useful purposes in mathematics. 



Stifel wrote also a treatise on the calendar, and a tract on 'Magic 

 Squares.' Like many other learned men of that century, he appears 

 to have spent much time in studying the ' Apocalypse,' and he is said 

 to have predicted that the end of the world would take place in the 

 year 1553. One of his countrymen, also a mathematician, had pre- 

 viously assigned for the time of that event the year 1524 ; and in 

 Britain, the celebrated Napier found out that it would occur between 

 the years 1688 and 1700. Stifel died at Jena, in 1567. 



STIGAND, a Saxon prelate, in great favour with Edward the Con- 

 fessor, who made him bishop of Elmham, or more properly of the 

 East Angles, the seat of which bishopric is now at Norwich. This 

 was in 1043. Four years after he was translated to Winchester; and 

 in 1052 the Archbishop of Canterbury, Robert " Gemeticensis," being 

 driven into exile, but not formally deposed, Stigand was made arch- 

 bishop. This was considered an intrusion and irregularity ; but the 

 scandal was the greater, inasmuch as Stigand retained his bishopric of 

 Winchester, holding at the same time both those high dignities. He 

 is charged, in consequence of this, with having been inordinately 

 avaricious and ambitious ; but this defence has been made for him, 

 that his hold was firmer on the bishopric of Winchester than on the 

 archbishopric, from which he might have been removed had Robert 

 returned. It is said to have been by a stratagem, of which he was the 

 contriver, that the people of Kent obtained from the Conqueror a 

 ratification of some of their ancient customs. The Conqueror disliked 

 him ; refused to allow him to place the crown on his head ; and forced 

 him in 1067 to. accompany him when he returned to Normandy. 

 Finally, the king prevailed upon the pope to send three cardinals 

 to England to inquire into the conduct of Stigand ; and several things 

 being proved against him, he was deprived of his dignities and 

 degraded from the clerical order. He was also condemned to perpetual 

 imprisonment ; but soon died, being, as is said, starved to death, either 

 by the cruelty of others or by his own voluntary act. He died at 

 Winchester, and was buried there. Lanfranc succeeded him. 



STIGLMAYER, JOHANN BAPTIST, the distinguished director 

 of the Royal Brouze-foundry of Munich, was born October 18, 1791, 

 at Fiirstenfeldbruck, a small market-town near Munich, whei'e his 

 father carried on the business of a blacksmith. At Fiirstenfeldbruck 

 is an old convent founded by Ludwig the Strong, of Bavaria, in atone- 

 ment for the hasty execution of his innocent wife Mary of Brabant, in 

 1250. This convent, which had undergone various changes, and had 

 been at various times extensively decorated, was the school and 

 academy of the bare-footed blacksmith's son, though in his time it was 

 a military stable for foals (Militar-fohlenhof ). It contained stucco 

 decorations by E. Asam, frescoes by Appiani, statues by Roman Boos, 

 and other works of the last century. The woodcuts of a book on 

 natural history, which, with a catechism and prayer-book, constituted 

 the whole library of his father, and the decorations of the convent 

 were diligently copied by Stiglmayer, who, after many untiring visits 

 (he was obliged to go daily for milk), at length ventured to introduce 

 himself to the superintendent of the establishment, Herr Pfeiffer, who 

 he had heard was not only himself a draftsman, but possessed also a 

 collection of prints. Pfeiffer admired the boy's energy, and gave him 

 some regular elementary instruction in design. After this he was 

 placed by his parents with a goldsmith at Munich, of the name of 

 Streissl, and he attended in the meanwhile the holiday school (Feier- 

 tagsschule), in which he obtained the first prize for industry and good 

 conduct, amounting to 100 florins (8 guineas), by which he attracted 

 the notice of M. Leprieur, the director of the Bavarian mint, who from 

 this time took much notice of Stiglmayer, procured him admission 

 into the academy in 1810, and became in a manner his patron. From 

 the date of his admission into the academy, he pursued the regular 

 course of study requisite for a statuary and sculptor, and at the same 

 time practised seal and medal engraving. He was very successful in 

 1814 in a medal with Von Langer, the director of the Academy, on one 

 side, and Moses making the water flow from the rock on the other, 

 for which he was appointed one of the engravers of the mint, and 

 he was sent in 1819, at the king's expense, to Italy to complete his 

 studies. 



It was in Rome that Stiglmayer's patron, Ludwig, the late King of 

 Bavaria (then crown prince), first became cognisant of his high abilities, 

 and appears himself to have directed Stiglmayer's attention principally 

 to metal-founding, in preparation for his own great undertakings 

 already projected by him. In reference to this future occupation 



Stiglmayer repaired to Naples, to witness the casting of the bronze 

 colossal equestrian statue of Charles III., to be directed by Francesco 

 Righetti and his son Luigi, from the model by Canova ; the Italian 

 sculptor's reserve and jealousy however rendered Stiglmayer's journey 

 in vain as regarded its principal object; he did not allow him to see 

 the casting. But in another respect he was fully recompensed ; after 

 considerable trouble he obtained permission to erect a smelting-oven 

 in his cellar, and having procured the assistance of Beccali, an ex- 

 perienced founder, then to be found in few even of the principal 

 cities of Europe, he undertook the casting of several works himself. 

 The first wholly failed, but the second, a cast from Thorwaldsen's bust 

 of Ludwig I., then crown prince, was completely successful, so much 

 BO, that the journeyman, Pasquali, in his ecstasy kissed the lips of the 

 bust before they were cool, and seriously burnt his own. After casting 

 a few other works, and thus perfecting his practical acquaintance with 

 the art, he left Naples for Germany, but on his road he had the mis- 

 fortune to fall in with some banditti who robbed him even of his 

 sketch-books. He returned to Munich in 1822, but was at this time 

 employed chiefly in his capacity as engraver for the mint, and on 

 some unimportant works of sculpture for the new Sculpture Gallery 

 or Glyptothek then in progress. To the medals of this time belong 

 that in commemoration of the marriage of the Queen of Prussia, for 

 the minister Von Zentner, and the historical medal of the royal family 

 of Bavaria. Among his busts were those of King Maximilian I. and 

 the Queen Theresa, Count Dorring, the ministers Baron Von Zentner 

 and Lerchenfeld, Bishop Streber, and others. 



In 1824 he commenced preparations for his great series of metal 

 castings, and from this time he was exclusively employed in founding 

 the numerous monumental works which have been executed for 

 Ludwig I., king of Bavaria, some of which are the most extensive 

 castings of modern times. In order to be as well prepared as possible 

 for his arduous tasks previous to casting any great monument, Le 

 visited Berlin in 1824, to witness the casting of Ranch's statue of 

 Bliicher, by Reisinger, who showed him everything in his power. 

 Stiglmayer's great activity commenced with the reign of Ludwig I., 

 in 1826, in the foundry established and afterwards much enlarged by 

 the kingr, expressly for his own numerous undertakings in that im- 

 portant branch of art ; and he left many, and the most considerable, 

 still unfinished, at his death, He was created in 1839 Knight of the 

 Bavarian order of St. Michael. 



The following is a brief summary of his labours : From his own 

 designs the monument to the Brazilian children Juri and Isabella, 

 and the reclining figure of the Fraulein Von Mannlich, in the ceme- 

 tery at Munich ; the monument of Maximilian I., in Bad Kreuth ; 

 and the monument of the parting of Otto, king of Greece, from his 

 mother Theresa, queen of Bavaria, at Aibling : after Schwanthaler 

 the twelve colossal fire-gilded statues of the ancestors of the King of 

 Bavaria, ten feet high, set up in the new throne-room of the palace of 

 Munich ; the statue of General Bekkers for his monument in Munich ; 

 the colossal monumental figures of Jean Paul in Bayreuth, Mozart in 

 Salzburg,'the Margrave Frederic of Brandenburg in Erlangen, and the 

 Grand-Duke Ludwig of Darmstadt ; and the gilt bronze pieces of table- 

 service, with designs from the Niebelungen and Amelungen, for the 

 crown-prince of Bavaria : after Thorwaldsen the statue of Schiller at 

 Stuttgardt, and the colossal equestrian statue of the elector Maximi- 

 lian I. of Bavaria, at Munich : and after Rauch the monument of King 

 Maximilian I. of Bavaria, before the theatre at Munich. He executed 

 also the following architectural casts from models made in the foundry, 

 chiefly from the designs of Von Klenze ; the obelisk, 100 Bavarian 

 feet high, in commemoration of the 30,000 Bavarians who fell in the 

 Russian campaign of Napoleon in 1812 ; the bronze gates of the Glyp- 

 tothek and the Walhalla ; the great constitutional column at Gaibach ; 

 the interior pediments of the Walhalla, with the northern deities ; 

 the gilded candelabra in the new throne-room in Munich ; the monu- 

 ment to the brave Oberlander, who fell at Sendling, in the cemetery at 

 Munich ; and the tomb of King Maximilian in the royal vaults (Fiirs- 

 tengruft) at Munich, after a design by the architect Ziebland. Besides 

 the above works, which are completed, are the following important 

 monuments which were in progress at Stiglmayer's death : The 

 colossal statue of Gothe, for Frankfurt, after the model by Schwan- 

 thaler; and from the model of the same sculptor, the enormous 

 colossal figure of Bavaria, the largest statue in the world, being nearly 

 sixty feet high, to be placed before the Bavarian temple of Fame, or 

 Ruhmeshalle, which was inaugurated October 8, 1850 [SCHWANTHALER]; 

 also, by Schwanthaler, the monument of the late Grand-Duke of 

 Baden, with a pedestal and four allegoric figures of the four circles of 

 the dukedom ; and the statues of Marshals Tilly and Wrede, for the 

 new marshals' Loggia or Feidherrnhalle at Munich; and casts from 

 Tenerani's models of the statues of Ferdinand, king of Naples, for 

 Naples, and of Bolivar, for Bolivia, in South America. 



Stiglmayer died March 2, 1844, on the day on which the statue of 

 Gothe was cast by his nephew and assistant Ferdinand Miller, who 

 succeeded him as director of the foundry. Stiglmayer had suffered 

 from illness two years previous to his death, and mauy supposed it 

 was owing to the unhealthy system of gilding by fire ; but he died of 

 cancer in the stomach, which Breslau, the king's physician, bad pro- 

 vkmsly declared to be the cause of his illnes?. 



(Kunstblatt, 1844 ; Soeltl, BUdende Kunst in Milne/ten.) 



