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TICOZZI, STEFANO. 



TIECK, LUDWIG. 



fellow for romantic lore and antiquarian research, considering his 

 country." The fame of his attainments had during his absence 

 pocm-ed his election to the chair of modern languages in Harvard 

 University, and on his return to America in 1819 he entered with 

 energy upon the duties of his office. His lectures upon the great 

 writers of Italy, France, Spain, and England excited, as Mr. Prescott 

 has testified, a remarkable amount of interest, and Mr. Ticknor's 

 labours are acknowledged to have been largely instrumental in stimu- 

 lating among his contemporaries the study of the modern languages 

 and literature of Europe. Mr. Ticknor retained his professorship for 

 fifteen years. He then returned in 1835 with his family to Europe, 

 and spent there some three years in extending and verifying his in- 

 vestigations, and in collecting, with the assistance of Professor Fascual 

 do Gayangos of Madrid, rare and valuable Spanish books, of which he 

 succeeded iu forming an almost unrivalled collection. Whilst largely 

 assisting other literary men and students, Mr. Ticknor had himself 

 published nothing more than an occasional essay, but he was now 

 concentrating his attention upon Spanish literature. With a rare 

 amount of industry and intelligence he laboured on for years, and at 

 length in 1849 produced his 'History of Spanish Literature: with 

 Criticisms on the particular Works and Biographical Notices of Pro- 

 minent Writers,' 3 vols. 8vo. The work is by general consent the 

 most complete history of Spanish literature in any language, full, 

 minute, and precise in information, and eminently fair and candid in 

 spirit. The author appears in his researches almost to have exhausted 

 existing materials whether bibliographical or biographical over- 

 looking nothing and neglecting nothing. However other students of 

 the poets and imaginative writers of Spain may differ from Mr. 

 Ticknor in his critical estimates of particular authors or books, all 

 willingly admit the immense benefit they derive from his labours, 

 and with entire unanimity his work has been accepted by European as 

 well as American scholars as the standard book of reference on the 

 history of Spanish literature. It has been translated into both the 

 Spanish and German languages. 



TICO'ZZI, STE'FANO, was born in 1762, in the Val Saesina, in the 

 province of Como. He studied at Milan, and afterwards at Pavia, 

 took priest's orders, and afterwards was appointed incumbent of a 

 country parish near Lecco, in his native province. When the French 

 invaded Lombardy in 1796, he and his brother Cesare Francesco, who 

 was an advocate, favoured the revolutionary movement; but when 

 the Austrians came back in 1799. Ticozzi was obliged to emigrate into 

 France, and his brother was seized and sent prisoner to Cattaro. 

 Ticozzi returned with the victorious French in the following year, 

 and was appointed to several political offices under the Italian repub- 

 lic, and in 1806 was" made sub-prefect of the department of the Piave 

 under Napoleon's administration. In 1810 he published some dis- 

 quisitions on monastic institutions : ' Degli Istituti Claustrali Dialoghi 

 T re,' 8vo, Belluno. He lost his situation on the fall of Napoleon, and 

 retired to Milan, where he lived mainly by literary labour. He trans- 

 lated in to Italian Sismondi's 'History of the Italian Republics,' Llorente's 

 ' History of the Inquisition,' Agincourt's ' History of the Arts,' and 

 other works. In 1818 he published his 'Dizionario dei Pittori dal 

 Rinnovamento delle Arti fino al 1800,' which he afterwards merged 

 in his larger work, ' Dizionario degli Architetti, Scultori, Pittori, 

 Intagliatori in rame e in pietra, Coniatori di Medaglie, Musaicisti, 

 Niellatori, Intarsiatori d'ogni Etd, e d'ogni Nazione/ 4 vols. 8vo, Milan. 

 This is a really useful compilation, although not always exact about 

 dates. He also published 1, ' Memorie Storiche,' 12 vols. 8vo, 

 Florence, being a series of historical tales taken from the history of 

 Italy in the Middle Ages ; 2, ' Viaggi di Messer Francesco Novello da 

 Carrara, Signore di Padova, e di Taddea d'Este, sua consorte, a diverse 

 parti d'Europa,' 2 vols. 8vo, a work also illustrative of the same 

 period ; 3, a continuation of Corniani's biographical work, ' I Secoli 

 della Letteratura Italiana,' down to our own times, and also a con- 

 tinuation of Bottari's collection of letters concerning the arts : ' Rac- 

 colta di Lettere sulla Pittura, Scultura, ed Architettura, scritti dai 

 piu celebri Personaggi dei Secoli xv., xvi., e xvii., continuata fino ad 

 nostri Giorni,' 8 vols. 8vo ; and likewise a continuation of Verri's 

 'History of Milan: ' 'Storia di Milano del Conte Pietro Verri, dai suoi 

 piu rimoti Tempi fino al 1525, continuata fino alia presente Eta,' 

 6 vols. 12mo, Milan, besides several dissertations upon various paint- 

 ings and other minor works. He left inedited and unfinished a Life 

 of Coreggio, and 'A Treatise on the Art of distinguishing Copies from 

 the Originals in Paintings.' 



Ticozzi died in 1836. He married a grand-daughter of the historian 

 Gianuone, by whom he had several children. 



TIDEMAN, PHILIP, was a native of Niirnberg, where he was 

 born in the year 1657. He studied first under a painter named 

 Nicholas Raes, with whom he remained eight years, and was distin- 

 guished by his diligent application to his art, in which he attained 

 great proficiency. Desiring however to improve his knowledge and 

 taste, he went to Amsterdam to study the capital works of the great 

 masters in the collections in that city. 



Lairesse being at that time in great esteem at Amsterdam, Tideman 

 resolved to place himself under his direction ; and so gained the good 

 opinion of his teacher by his pleasing manners and his talents, that 

 Lairesse conceived a great affection for him, and not only gave him 

 the best instruction in the art, but employed him to assist in some 



important works on which be was engaged. In executing these work* 

 Tideman gave such evident proof of hU abilities, that be soon obtained 

 sufficient employment independent of Laire Be. 



His compositions of fabulous history and allegory indicate a lively 

 fancy, genius, and invention ; insomuch that in thus reipect his designs 

 have been recommended as models to succeeding artist*. Two of hi* 

 capital compositions were Venus complaining to Jupiter of Juno's 

 persecution of ./Eneas, and Juno applying to .olus to destroy the 

 Trojan fleet. He died in 1715, at the age of fifty-eight, leaving a very 

 great number of sketches and designs, which afford proofs both of his 

 industry and the fertility of bis invention. 



TIECK, CHRISTIAN FR1EDRICH, a celebrated sculptor, brother 

 of Ludwig Tieck, was born in Berlin on the 14th of August 1770. 

 Having studied awhile under Schadow, he in 1798 proceeded to Paris, 

 where ho became a pupil of David. In 1801 ho returned to Berlin, 

 and afterwards went to Weimar, then a great centre of literary and 

 artistic activity. Here he found in Gdthe a warm and most valuable 

 friend and adviser, and whilst here he not only assisted in the execu- 

 tion of the sculptural decorations of the new palace, but executed 

 busts of Gothe, Voss, and Wolff, besides many of members of princely 

 and noble families. In 1805 he went with his brother Ludwig to 

 Italy, and carefully studied the great works of art there, maintaining 

 at the same time by his numerous busts, &c., his manual dexterity. 

 Here he found friends and patrons in Madame de Stae'l, and the 

 crown-prince, afterwards King Ludwig, of Bavaria. For the former 

 he executed a rilievo for the family sepulchre at Coppet, and subse- 

 quently a life-size statue of Necker, and busts of herself, the Due de 

 Broglie, Augustus Sihlegel, and M. Rocca. For Ludwig of Bavaria 

 he executed at various times busts of Ludwig himself, Jacobi, Schelling, 

 Ludwig Tieck, Lessing, Erasmus, Grotius, Herder, Wallenstein, and 

 several others, chiefly for the Walhalla. On his second visit to Italy 

 (1812) he became acquainted with Rauch, and the two great sculptors 

 ever after remained fast friends. He returned in 1819 to Berlin, where 

 he established his atdlier, and was elected a member of the academy. 

 During the remainder of his life he was employed upon, many of the 

 public works, and was a prominent actor in the artistic movements in 

 the Prussian capital. Among his productions were the friezes, the 

 sculptures in the pediment, and other external decorations of the 

 Theatre Royal, the gates, and the statue of the angel in the porch of 

 the Cathedral in Berlin ; a series of fifteen seated marble statues of 

 classical personages for the royal palace ; a bronze equestrian statue 

 of Frederick William at Ruppin, besides several monumental works 

 and numerous busts and rilievi. He was also during many years 

 extensively employed on the restoration of ancient works for the 

 Royal Museum, in which institution he was director of the depart- 

 ment of sculpture. He died at Berlin on the 14th of June 1851. 

 Tieck was not possessed of much imaginative power; he executed 

 some good statues and rilievi, but his chief strength lay in his memo- 

 rial busts, many of which display great elevation of style and admirable 

 chiselling. In his studio several eminent sculptors have been formed, 

 among whom perhaps the best known is Kiss, the sculptor of the 

 Amazon. There are casts of some of Tieck's works in the Crystal 

 Palace at Sydenham. 



TIECK, LUDWIG, one of the most influential actors upon the 

 modern literature of Germany, was born in Berlin, on May 31, 1773. 

 At the universities of Halle, Gottingen, and Erlangen, he studied with 

 great ardour ; history and the poetical literature of both the ancients 

 and the moderns being his favourite pursuits. His poetical powers 

 developed themselves early, but they took a direction opposite to the 

 usual classical models, and exercised themselves on the feelings and 



assumed an eastern locality. Both displayed great poetical ability, but 

 he did not attempt verse, except in a few short pieces introduced amid 

 the prose. In 1792 he produced the tragedy of 'Der Abschied' (The 

 Parting), also in prose, which, like most of his other dramatic pieces, 

 is more fitted for the closet than the stage. He probably himself 

 began to perceive that his true strength lay in narrative, and in the 

 same year he produced ' Das griine Band,' a mediaeval tale of consider- 

 able pathos, with great truth of characterisation and much interest; 

 and ' Abdallah,' an oriental tale, with little of oriental colouring, and 

 of a ghastly terror-inspiring character. He had made much progress in 

 the study of English literature, particularly the drama, and the result 

 was, in 1793, a compressed translation, or rather paraphrase, of Ben 

 Jonson's ' Volpone,' in three acts, in which it is remarkable how care- 

 fully he has omitted all the more poetical passages which ornament 

 the original, and in which, for the scene where Volpone plays the 

 mountebank, he substitutes a satirical one between an Englishman and 

 a German author come to England for a few weeks to write volumes 

 on the character of the country and its inhabitants. To the same 

 period belongs also his novel of ' William Lovell,' of which the cha- 

 racters and scenery are intended to be English, but they have a very 

 foreign air, and the tone of the whole is more gloomy than most of 

 Tieck's productions. 



The six years, from 1795 to 1800, both inclusive, was a peri< 

 incessant activity. During it he travelled; visited Jena, where he 

 formed an intimate friendship with the two Scblegels, Ivovalis, and 



