SCULPTURE 



5276 



SCULPTURE 



ROMAN GLADIATOR 



appointed to execute great decorative works 

 was Jean Goujon (1520-1572), whose art is best 

 represented by his Fountain oj the Innocents in 

 Paris. One of the first acts of Louis XIV was 

 to commence the building of the Palace of Ver- 

 sailles. Pierre Puget (1622-1694) 

 executed numerous 

 sculptures for this 

 wonderful 



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palace, as well 

 as decorations for 

 many public 

 buildings of Paris, 

 while Francis 

 Girardon (1628- 

 1715) acted as 

 chief inspector of 

 sculpture at Ver- 

 sailles under Le- 

 brun. 



The seven- 

 teenth century 

 had favored great 

 decorative sculp- 

 tures, but in the 

 eighteenth cen- 

 tnrv thm-A wn a A statue by Agasias of 

 e was a Ephesus (second century B.C.), 

 tendency toward known as the Borghese Gladi- 



... , ator ; in the Leuvre, Paris, 



single-figured 



statues. Among the great artists that devel- 

 oped were Jean Antoine Houdon (J 741-1828), 

 a famous portrait sculptor; Joseph Bosio (1769- 

 1845), whose bronze quadriga (two-wheeled 

 chariot with four horses abreast) surmounts 

 the triumphal arch of the Place du Carrousel 

 in Paris; and Francois Rude (1785-1855), who 

 absorbed the patriotic spirit of the Revo- 

 lution and expressed it in his The Marseil- 

 laise, the great bas-relief on the Arch of 

 Triumph in Paris. The effects of the Romantic 

 Movement left their impress upon the nine- 

 teenth-century French sculptors, among whom 

 were Antoine Barye (1795-1875), sculptor of 

 wild animals ; and Jean Baptiste Carpeaux 

 (1827-1875), creator of numerous portrait busts 

 and sculptures on the New Opera House in 

 Paris. By far the greatest figure in modern 

 French sculpture is Auguste Rodin, a zealous 

 advocate of the idea that Nature alone should 

 be the artist's source of inspiration. He is one 

 of the greatest realists who ever lived. 



Germany. Germany slightly preceded France 

 in point of time in the development of a na- 

 tional Renaissance style. Adam Krafft (1480- 

 1507) of Nuremberg, a center of the so-called 

 Franconian school, did much to raise the art 



of sculpture in stone to a high standard of 

 excellence. His friend and countryman, Peter 

 Vischer (1455-1529), turned his attention to 

 casting in metal, and became famous as a 

 bronze worker. Albrecht Diirer (1471-1528) was 

 noted both as a sculptor and painter. Then 

 came the devastating Thirty Years' War, and 

 the history of sculpture was a blank for many 

 years. 



The modern school of sculpture in Germany 

 can be traced to the influence of Thorwaldsen, 

 the Dane, a disciple of classical art. The first 

 exponent of the classical revival in Germany 

 was Johann Dannecker (1758-1841). He was 

 followed by John G. Schadow (1764-1850) and 

 Christian Rauch (1777-1857); the latter's mas- 

 terpiece is his statue of Frederick the Great in 

 Berlin. He was the founder of the Berlin 

 school of sculpture, and his work shows a har- 

 . monious blending of naturalism and idealism. 

 Others who worked along similar lines were 

 Ernest Rietschel (1804-1861), Friedrich Drake 

 (1805-1882) and August Kiss (1802-1865). 

 Among sculptors of recent fame are Begas, 

 Wolff, Hildebrand and Schilling. 



England. This country for many centuries 

 gave little encouragement to those who labored 

 with marble and bronze. Of the Renaissance 

 sculpture very little is extant, and it was not 

 until the reign of Charles I that any great 

 progress was made. The first noted sculptor of 

 this time was Nicholas Stone (1586-1647), whose 

 fine tombs at Westminster Abbey show a tend- 

 ency toward higher art. Thomas Banks (1735- 

 1805) is regarded as the father of ideal English 

 sculpture, though he was unappreciated in his 

 day. John Flaxman (1755-1826) brought the 

 classical spirit into English art and founded the 

 school of the nineteenth century. His Saint 

 Michael Overcoming Satan and Apollo show 

 how nearly he approached the spirit of sculp- 

 ture of Greece. For fifty years after Flaxman 

 the English sculptors were swayed by Canova's 

 art. John Gibson (1791-1866), the most popular 

 of Canova's English pupils, is best known 

 through his Narcissus, Psyche Borne by Zephyrs 

 and Hylas Surprised. John H. Foley (1818- 

 1874) and Patrick MacDowell (1799-1870) were 

 the last great representatives of the classical 

 school. 



Alfred Stevens (1817-1875) was one of the 

 first disciples of the modern school of natural- 

 ism. He executed the finest decorative sculp- 

 ture in England, the Monument of the Duke 

 of Wellington, in Saint Paul's Cathedral. But 

 the leaders of this movement were two famous 



