66 THE FINE ARTS. 
which the winged goddess of Victory herself guides to meet the goddess of 
Peace. This group, in the first copy of Alexander’s Procession, of which 
as is well known there are five in existence (one, properly only a plaster 
sketch, in the Quirinal; one in marble, for Count Sommariva; a new 
sketch, wrought entirely anew and of half size, in the Museum; a frieze 
executed in marble and of full size, after the last mentioned, for the castle 
of Christiansburg; and a copy of that in the Quirinal, for the Duke of 
Leuchtenberg), was quite differently and in general more quietly arranged, 
and only the copy in the castle of Christiansburg has it as it here appears. 
Behind this group begins the victorious procession of the army with Alex- 
ander’s armor-bearer, followed by Bucephalus with his grooms leading 
him; next Alexander’s generals, Hepheestion, Parmenio, and Amyntas; 
after whom comes an adjutant, and then the wonderful group of horsemen in 
pl. 9, fig. 10. This group likewise is not found in the Quirinal copy, but 
was composed for Christiansburg and adopted in the copy of Sommariva. 
After this follows a very beautiful one of four horsemen, and after these 
the group of horse and foot in jig. 11; these again are followed by an 
elephant, as a symbol of the spoils of war, loaded with conquered weapons, 
and the famous casket which Alexander withheld from the booty, to keep 
in it his copy of Homer which everywhere accompanied him; and after it 
a captive Persian chieftain. The whole procession is closed in all the 
copies by a group in which Thorwaldsen himself appears viewing the pro- 
cession; but in Count Sommariva’s copy Thorwaldsen appears in an 
animated attitude explaining the whole procession to Count Sommariva 
and his son. 
Of Thorwaldsen’s pieces on mythological subjects we will mention only 
his Venus Victria with the apple of Eris, in the act of seizing her garments 
to put them on again (fig. 4), for Lord Lucan; the Three Graces (fig. 5), for 
the Duke of Augustenburg, a charming composition ; and the Apollo (pl. 8, 
jig. 6), executed for the Countess Woronzow, the model of which, in place 
of the trunk of a tree, has the Delphic tripod. Of his mythological and 
historical bas-reliefs we will instance only in addition to those mentioned 
above, his beautiful relief of Achiiles and Briseis from Homer's Mliad, V. 
345 et seq., which is copied in pl.9, fig.6. This relief was Thorwaldsen’s 
first production of the kind in Rome. It was executed while the Jason was 
being blocked out; and it laid the foundation of Thorwaldsen’s fame as a 
master of composition, which he ever after retained. This relief has been 
twice transferred to marble, once for the Duke of Bedford in Woburn 
Abbey, and once (before that) for Herr von Ropp in Mitau, when the 
composition was somewhat altered. Here also should be mentioned the 
two celebrated reliefs of Wight and Morning. Of subjects taken from the 
Christian religion we can allude only to the colossal Chrest and the twelve 
Apostles, the Angel of Baptism, Christ’s procession to Golgotha and 
several other bas-reliefs in the cathedral of Copenhagen, whose gable is orna- 
mented with one of Thorwaldsen’s most wonderful groups in detached figures, 
representing St. John the Baptist preaching in the Desert. In addition 
to the above works, Thorwaldsen designed and modelled a considerable 
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