58 THE FINE ARTS. 
jig. 1), formerly in the church of the Celestines but now in the Museum, 
with the Graces of Canova (pl. 9, fig. 3) or of Thorwaldsen (fig. 5), will 
convince any one of the truth of our assertion. The same defects attach to 
the works of Sarrassin, the brothers Anguier, Theodan, Puget, Pierre le 
Gros, &c.; and Pigalle is the first who shows a purer taste in art, although 
he too leaves much to be desired. Pigalle was born in Paris in 1721, and 
was a pupil of the sculptors and brass-casters Lemoine and Lemayne, 
and in 1752 was professor in the Royal Academy of Paris. His talents 
first made themselves conspicuous after his return from Rome; and his 
Mercury and Venus, which afterwards became the property of the king of 
Prussia, rendered him famous. There area considerable number of statues 
by him, among them that of Zowis X V., and many fine reliefs. His best pro- 
duction was the monument to Marshal Saxe, which is still to be seen in the 
church of St. Thomas at Strasburg. We have copied it in pl. 10, fig. 11. 
This mausoleum is regarded as the most beautiful of that period, and is in 
fact very skilfully composed; although the mailed form of Maurice of 
Saxony does not harmonize with the allegorical figures, neither do these 
latter, especially the ancient Hercules and the modern skeleton, with each 
other. 
The commotion produced in France during the age of the revolution and 
those succeeding it was naturally not without its influence on the arts. But 
after the first blast had passed over and the waves of the stormy sea had 
subsided into something like quiet, art again reared its pinions for a vigorous 
flight; and accordingly towards the close of the last and during the present 
century many good works have been produced, indeed everywhere we 
behold the influence of a refined taste and of an earnest study of art. It is 
true that in the choice of subjects many allusions may be perceived to the 
events of the times, as e.g. in Chaudet’s Cincinnatus (pl. 8, jig. 7), in 
Fogatier’s Spartacus (fig. 9), and in the reliefs on the numerous triumphal 
arches and monuments; yet everywhere the study of the antique is con- 
spicuous, and as the example of the ancients was imitated in the republic, 
so it was in the plastic art, even down to the cutting of dies. As a specimen 
of the style of the period in relief we present a copy of a work of Chinard’s, 
taken from the triumphal arch in Bordeaux (pl. 11, fig. 18): it represents 
Bellona receiving a wreath from the Genius of Lame, and adorning with it 
the brave and ardent warrior. To this period belongs also the statue by 
Ph. Gross of General Kleber (fig. 10), who was assassinated in Egypt, 
which decorates his monument in his native city Strasburg, and is a master- 
piece of composition. Yet there was no lack at the same time of works of 
a different class; and while for fifty years France was almost without 
interruption in a state of convulsive excitement, art quietly held on its way, 
and sought the subjects for the exercise of its skill in every department both 
of prosaic and poetic life. We cite as examples the Dancing Neapolitan, 
by Duret (pl. 8, fig. 8); the group of Jno and the Boy Bacchus, by 
Dumont (pl. 10, fig. 7); and the group of Leda and the Swan (fig. 8), by 
Seurre jeune; in which the study and to some extent the imitation of 
the antique cannot fail to be observed. 
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