60 THE FINE ARTS. 
But notwithstanding the singularity of David’s Gutenberg in point of com- 
position and drawing, and its disregard of the laws of artistic conception as 
respects the figure, in the poetry of the thought it surpasses even that of 
Thorwaldsen in Maintz (jig. 4): the latter represents the inventor of print- 
ing with movable types in his hand; whereas David has placed a proof- 
sheet in his hand, on which are printed the words, 4¢t la lumiere fut ! 
(And there was light!) Besides several monuments, among which are 
those of Cardinal Cheveru and the physician Larrey, David has produced a 
number of genre sculptures which have received universal applause and of 
which we shall mention here only the Boy relishing Grapes. David in his 
works had departed from the cold imitation of the antique, and knew how 
to express his ideas in a free and suitable manner; although sometimes, as 
we have mentioned above, he fell in consequence into a forced attempt at 
effect. As an opponent of the baldness and severity of the antique, he 
practises a style of sculpture exceedingly powerful and effective and hence 
perfectly adapted to the colossal; at the same time it is very different from 
the prevailing mode of treating clay and marble especially in Germany, 
and gives him liberty to exercise that warmth of inspiration and bold sweep 
of the hand with which he embodies his ideas. Yet notwithstanding his 
aversion to the antique, David pays his tribute to its excellence, especially 
in the nude figure; and here he inclines less to the Hellenic than to the 
luxuriant Roman. ‘ 
In speaking of French sculpture, we must make mention of a female 
artist, whose early death was a severe loss to art. It was the Duchess 
Marie of Orleans, a daughter of Louis Philippe, late king of the French. 
She was born at Palermo in 1813, and in 1837 was married to Duke 
Alexander of Wirtemberg, whom she accompanied to Germany, but a fire 
having occurred in the castle of Gotha, at which she took cold, she went to 
Pisa for the recovery of her health and died there in 1839. This princess 
had a great talent for sculpture, and we have by her the well known most 
graceful and spirited statue, of the size of life, of the Maid of Orleans 
(pl. 8, fig. 10), which stands in Versailles; and in Paris the equestrian 
statue of the same heroine represented in the act of striking down an 
Englishman with her battle-axe. Her last work was a very beautiful 
angel of white marble, which now stands in the chapel of Sablonville 
on the sarcophagus of her brother, the Duke of Orleans, who met his 
death by an accident in 1843. The productions of the young princess are 
equally remarkable for the spirit of their conception and the beauty of their 
execution. 
C. Germany. 
The plastic art of Germany in the middle ages struck out a path of its 
own, and consequently exhibits a high degree of originality ; and although 
we find in it no traces of a study of the antique, there resides in most of its 
productions an expression of much grace and loveliness, combined with power 
and dignity, and a very earnest study of nature. The works of an Albert 
Durer, Veit Stoss, Adam Kraft, George Surlin, Peter Vischer, and nume- 
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