SCULPTURE. 65 
English banker, who ordered the execution in marble of his model of the 
statue of Jason (pl. 8, fig. 5), which in despair of encouragement he was 
about to break in pieces. The great beauty of the finished statue founded 
his reputation as a master, which several works in rapid succession con- 
firmed, and it soon became a point of honor among the wealthy to possess 
a work of Thorwaldsen’s ; so that Protestant as he was, he was intrusted 
with the execution of the mausoleum to Pius VII. in the church of St. 
Peter. Thorwaldsen visited his paternal city only four times, and resided 
for many years in Rome. At last he came to Copenhagen in 1842, where 
he suddenly died in 1844; he left his native country his heir, which has 
collected his works and his treasures of art in the Thorwaldsen Museum. 
The number of his productions is very great, so that we cannot even name 
them all; but one of his chief works is the Procession of Alexander, which 
he designed in honor of Napoleon, for an apartment in the Quirinal at 
Rome, and which was executed in marble for the Villa Sommariva on the 
Lake of Como. We have copied (pl. 9, jigs. T-11) some fragments of this 
frieze, which is 110 feet long, and 3 feet 8 inches in height, and the plaster 
model of which was completed in the space of three months. By this 
work Thorwaldsen proved that even a modern master could penetrate com- 
pletely into the spirit of the antique and vie with the classical plastics of 
the Hellenes themselves. On repeating the work in marble, Thorwaldsen 
added to it another group, representing Count Sommariva and himself. 
The frieze was afterwards put in marble again for the castle of Christians- 
burg in Copenhagen, and as it needed to be longer, the artist added to it 
several other groups. The subject of this relief is the entry of Alexander 
the Great into Babylon, which the Persian general Mazzeus delivered up 
to him without striking a blow. Thorwaldsen could not of course represent 
the entire scene as described by Curtius Rufus in his Life of Alexander 
(Book V.); but he has arranged in beautiful order the most important 
particulars. The artist conducts us, first to the banks of the Euphrates, 
which is represented by fishermen and the river-god himself, whom Thor- 
warldsen erroneously called the Tigris. Before the walls of Babylon we 
behold a shepherd with his flock; and close by, an altar of incense guarded 
by two warriors. We have given the end of this group in pi. 9, jig. 7. 
The two seem displeased at the friendly reception of the conqueror; on the 
countenances of the shepherd and shepherdess we see portrayed the intense 
expectation of the coming events; while the boy in utter indifference is 
playing with a sheep. To the group here described are joined the priests 
and magi, before whom horses, a lion, and a tiger are led as presents to 
the invading general. Music heads the procession ; before which advances 
Bagnophanes, the treasurer of Babylon, marshalling the array, and causing 
altars to be hastily erected at intervals. Gurls strewing flowers precede the 
procession, at the head of which is the goddess of Peace with a horn of 
plenty and a palm-branch, and behind her appears the Persian general 
Mazzens with his children beseeching clemency. Opposite this group 
begins Alexander’s procession, coming towards that of the Persians. At 
its head appears the conqueror hinseld (jig. 9), on a brazen quadriga, 
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