PAINTING. a 
number of epitaphs and monuments, e.g. the monument of Pope Pius VIL, 
already mentioned, of Copernicus in Warsaw, of Count Potocki in Cracow, 
of the Duke of Leuchtenberg in Munich, of the electoral Prince Maximilian 
of Bavaria in the same city, of Conradin of Suabia in Naples, of Schiller in 
Stuttgard, of Gutenberg in Maintz, &c. The statue of Schiller’s monument 
is copied in pl. 11, fig. 7, and jigs. 8 and 9 show two of the reliefs of the 
pedestal; of these fig. 8 is the front, representing an apotheosis of Schiller 
(the two Zodiacal signs are those of the months of Schiller’s birth and 
death), and jig. 9 is the rear; the two sides contain hovering angels. 7g. 4 
represents the statue of Gutenberg’s monument, which as a statue is 
altogether ‘superior to that of David (jig. 3). J/g. 6 is a relief from the 
base, representing the invention of movable types; and jig. 5 is another 
relief which represents the first execution of the art of printing and Guten- 
berg in the act of examining a proof-sheet. Characteristic attributes are 
given to the statue itself, which holds movable type in its right and the 
newly printed Bible in its left hand. 
Ii. PAINTING. 
As the sense of form, so too the sense of color is deeply implanted in the 
nature of man; and we meet in all times and in all countries with proofs 
that men have practised the art of painting in some mode or other, even 
though it be limited to staining or painting their own bodies or the objects 
which they have carved or constructed. The question has been asked, 
Which of the two arts is the older, painting or sculpture? It would lead us 
too far to enter here into a discussion of this question: still it appears to us 
that sculpture must almost of necessity have preceded that painting to 
which the term “art” can be applied; for to us it seems easier for the 
uncultivated man to mould soft clay into the shapes of objects, and even to 
execute images of them in hard stone, imperfectly to be sure, than to repre- 
sent raised objects at different distances and hence perspectively, by draw- 
ing on a plane surface. A proof of the correctness of our supposition is 
furnished by the fact that we have plastic works of the Indians, Medes, Baby- 
lonians, and Persians, which are even brought to a certain degree of perfec- 
tion; while of their paintings not a trace is to be found, if we except a few 
instances where colors are spread over walls and ceilings or over sculptures, 
whose antiquity, moreover, seems hardly established with sufficient certainty. 
We must divide our brief survey of the history of painting, as we did 
that of sculpture, into two great periods, the painting of antiquity and that 
of the middle ages and modern times. 
1. ANTIQUITY. 
The period of antiquity extends from the time when we meet with the 
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