SCULPTURE. 63 
‘in full on the pedestal; we copy here the statues of Felicitas publica (the 
Public Weal) (pl. 10, fig. 10), and of Bavaria (fig. 9), to show how Rauch 
combined a true conception of nature with a very refined study of the 
antique in the design and execution of his works of art. Rauch has been 
very happy in modifying as far as possible the unpicturesque forms of the 
military dress, so as not to offend the esthetic feeling which demands 
drapery of a free, unconstrained, picturesque character. The number of his 
portrait-statues and busts is very considerable. Thus we have by Rauch a 
statuette of Goethe, and the statues of Luther in Wittenberg, of Albert Diirer 
in Nurnberg, of Francke in Halle, of the two princes MMieczislaus and 
Boleslaus in Posen, and of Frederick William J. in Gumbinnen, which 
were all cast after his models. The four large Vectorzes in the Valhalla 
at Ratisbon are also by Rauch, as well as countless other works of art, 
one of the most interesting of which is Lawrentia of Tangermiinde on 
the Stag. Recently Rauch has finished and erected a colossal equestrian 
statue of Frederick the Great, which is placed at the entrance of the 
Linden in Berlin, and is one of the grandest monuments of our time. It 
is true that during the last centuries the Germans have gone to excess 
in erecting monuments; still it is not to be denied that the style of the 
monuments bestowed by the Germans on their poets and statesmen, espe- 
cially their favorites, is better calculated tosatisfy a true feeling for art than 
those which have been erected by Britain to her poet Burns in Calton Hall, 
Edinburgh (pl. 10, fig. 12), and to her philosopher Dugald Stewart on 
the Calton Hill, Edinburgh (pl. 11, jig. 14), which are feeble imitations of 
the ancient choragic monuments. 
We have still to speak of one other German sculptor, Ludwig Michael 
Schwanthaler, who is among the most prolific of artists, if we compare the 
number of his works with that of his years. This recently deceased master 
was born in Munich in 1802; and after receiving instruction in the elements 
of his art from his father, who was likewise a sculptor, he entered in 1818 
the Academy of Munich for the purpose of pursuing his studies in sculp- 
ture, but was already too independent to change the course he had marked 
out for himself. On that account he left Munich for Rome, and there in 
the year 1826 enjoyed the instruction of Thorwaldsen; after which he 
returned to Munich and set up an atelier of his own. Schwanthaler executed 
for the Glyptothek several reliefs on subjects taken from the Iliad; next for 
the palace of Duke Max in Munich a frieze of more than 150 feet in length, 
representing a wonde ful Bacchanal, and then two large friezes in the new 
palace in Munich, one of which represents the Myth of Venus, and the 
other the Olympic Games. Among many designs produced by Schwan- 
thaler we will instance only those of the wall-paintings for the six halls in 
the new palace on subjects from the Odyssey. For the hall of Barbarossa 
he executed a frieze from the crusades, and for the presence chamber the 
models for twelve bronze statues of the ancestors of the royal house of 
Bavaria. Of these statues we have copied two: Otto the illustrious (pl. 
11, jig. 1), and the emperor Ludwig the Bavarian (fig. 2), to show how 
admirably Schwanthaler managed the costume of the middle ages, even 
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