64 THE FINE ARTS. 
when it seemed ill adapted for the purposes of art. It will also be perceived 
from these figures that Schwanthaler’s drawing is beautiful and correct, and 
his movements animated and true to nature; each one of his works is a new 
proof of the correctness of these assertions. Many honorary statues have 
proceeded from the hands of Schwanthaler; of which we will mention only 
that of Mozart tor Saizburg, which represents the composer in an attitude of 
inspiration (pl. 10, jig. 5), while the reliefs on the pedestal (jigs. 5* and 
5°) portray the sisterly union of the muse of painting and sculpture with 
that of music (the Opera), and a singing scene (Song). Schwanthaler like- 
wise modelled the statues of Jean Paul in Baireuth, of Goethe in Frankfort, 
of Margrave Frederick in Erlangen (jig. 6), of Kreitmayer in Munich, and 
of Ludwig of Hesse and Charles Frederick of Baden, the two last for 
Carlsruhe. Schwanthaler executed several works in sandstone, limestone, 
and marble, some for the Ludwigskirche, some for the Pinakothek, and 
some for private persons ; but he gained especial celebrity by the reliefs on 
the pediments of the Walhalla at Regensburg, one of which, the front one, 
he executed after Rauch, but the other, the Battle of Arminius, after his 
own design. The relief on the new Exhibition-building at Munich, repre- 
senting the arts under the protection of Bavaria, is also by Schwanthaler. 
His grandest work, however, was the model for the colossal bronze statue 
of Bavaria, which he did not live to see finished. It was erected before the 
gates of Munich in the summer of 1850, and dedicated by ex-King Ludwig 
I., in the month of October. Its colossal dimensions, which are admirably 
disguised by the most exquisite truth in the proportions, were demonstrated 
at the solemnities attending the erection of the head, from which at a certain 
elevation thirty-two artists emerged descending one by one by a ladder 
placed against the lower edge of the throat ! 
D. England and Denmark. 
While art was making vigorous progress in France and Germany, much 
was accomplished for it in England also; yet the number of celebrated 
English sculptors is not very considerable. John Flaxman kept true to 
the strict study of the antique, with which in most of his works, and espe- 
cially in his designs to illustrate the Greek poets, he associated a great 
deal of winning grace and delicacy. Chantrey also, whom the English 
call their Canova, has judiciously combined the antique with the natural 
in his statues of Watt, Canning, Malcolm, and George IV., in his group of 
sleeping children, &e. 
We now come to Bertel (Albert) Thorwaldsen, who, a descendant of 
kings (his ancestor was King Harald Hildebrand of Denmark, though his 
father was a poor ship-carver), rose to be king of sculptors. Even his birth 
seemed to call him to a special destiny : for he was born at sea, in 1770, as 
his parents were on the voyage from Iceland to Copenhagen. From his 
earliest childhood Thorwaldsen busied himself with the art of sculpture; 
and when in his 17th year he wrought in the Academy under Abildgaard, 
he almost invariably obtained the prize. In the year 1796 Thorwaldsen 
went to Italy, where he was kept after completing his studies by Hope the 
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