A younger man than these two, Ludwig Schwantaler was the favorite sculptor of King Ludwig II of Bavaria, the patron of Wagner, and builder of fantastically beautiful castles, fitting into the magnificent scenery of his na tive Bavaria. Schwantaler's sculpture, partly theatrical, partly really grand, is a product of the exotic conditions flourishing under the rule of that fantastic king. His largest and best known work is his colossal statue 'Bavaria' in Munchen. As a national monument this statue ranks second only to the Hermann Monument high up on the northern cliff of the Teutoburg Forest, by Ernst von Bandel, erected to com memorate the final union of the several German tribes in the new German Empire. Subject and location combine to give this monument a unique place. As a work of art, however, it is far surpassed by the ultra-modern 'Bis marck' in Hamburg, by Lederer. Raised on a bold platform, with legs apart, bare-headed, garbed ih the armor of a knight, the national hero, Bismarck, stands like Roland of old, with his sword ready to protect, at all times, the empire he helped to build. Designs for the proposed Hamburg monument were submitted during the first year of the 20th century; and by a strange coincidence this very year marked also the beginning of that series of monuments erected under the auspices of the emperor in the 'Sieges-Allee) in the Tiergarten of Berlin. In strong contrast to all the models submitted in Hamburg and especially the one finally selected the Berlin statuary is quiet and refined and almost shrinks from innovations. Only its technique will indicate to future generations the date of its execution; for in later years German sculpture has shown the same mastery of technique which is characteristic of her painting. In the Chicago World's Fair Exhi bition of 1893 Hundrieser's 'Sleep' was char acterized as a "work of rare beauty and tender ness.* It has been acquired for the museum of Saint Louis. Max Baumbach's 'Siesta,' the statue of an obese sleeping faun, was said to be a "triumph of clever marble-cutting." The same high praise both for conception and masterful execution was bestowed at the World's Fair in Paris in 1900 on. Peter Breuer's 'Adam and Eve,' • while Robert Diez's 'The Tempest' won admiration with its "whirling figures of horses and marine monsters." While Paris, London, Rome and Saint Petersburg have become familiar through international exhibitions with the works of many modern German sculptors, America has had little op portunity to study them. The Exhibition of Contemporary German Art in the Metropoli tan Museum of Fine Arts in New York, Bos ton and elsewhere in 1909 contained only few pieces of sculpture. Cipri Adolf Berman showed his versatility in two heads, one of which, 'Old Man's Head,' a bronze, was almost antique in conception and execution; while his beautiful marble head of a woman suggested the fanciful imagery of Rodin. Of the several portrait busts that of 'Professor Flossman> by Adolf von Hildebrand (b. 1847) was the strong est and fully explained the great reputation enjoyed by Hildebrand, the "technician," as he has been called, "the strong man of stone," who unlike many modern "modelers" thinks in terms of stone or bronze, and adapts his designs to his material with great success. Another excellent portrait bust was shown by Fritz Klimsch (b. 1870), while the marble bust of Pfitzner by Hugo Lederer (b. 1871), by most exquisite treatment of the surface, conveyed flesh and blood and the charm of life. Tech nically as beautiful but very cold rather than warm with life was the statue of a crouching mother fondling her babe, by Arthur Lewin Funcke (b. 1866), owned by Mr. Edward D. Adams of New York. A delightful piece of work, cut in shell limestone, was the bust of J. H.,' by Hans Schwegerle (b. 1882), a pupil of Hildebrand. Louis Tuaillon (b. Berlin 1862) and well known for his 'Amazon on Horseback' in Berlin, which has been called by all odds the best modern German equestrian statue, exhibited a bronze bust of Emperor Frederick III and 'A Stag,' neither of which belonged to his best works. Franz von Stuck, better known as a painter (b. 1863), was represented by three works, the most daring and skilful one of which was his 'Athlete,' a study in muscles, one might say. It is char acteristic of modern German art that many men work both in painting and in sculpture.
Next to von Stuck, if not ahead of him, the best known painter-sculptor is Max Klinger (b. 1857). He has been attracted by polychrome sculpture, not in the sense of actually painting his statues as did Arthur Strasser (b. 1854) and Rudolf Maison (b. 1848), but to the extent of selecting variously tinted marbles, stones, gold and other precious materials for the several parts of his statues. His and his
are the best-known instances of this class of his work. In any list of modern Ger man sculptors the name "Eberhardt° deserves mention. Johann Heinrich Eberhardt (1739 1813), a sculptor of note, was the father of Konrad (1768-1859) and Franz (1767-1836). Konrad was the most important artist of these three. He spent much time in Rome, where he was almost as popular as Thorwaldsen and Can ova, so long as he too followed the classical style. Later he forsook the study of the classics and under the influence of the uNazarines° con fined himself to religious sculpture, in which branch he did his best work. Serafin Eberhardt (b. 1844), although no relation of the other Eber hardt, followed in the style of Konrad. Gus tav Eberlein (b. 1847) is one of the popular sculptors of the Sieges-Allee in Berlin referred to above. Although a pupil of Gustav Miser (1813-74) whose animated statuettes are re membered, while his more pretentious eques trian statues and ideal figures are forgotten, Eberlein followed in his own work the pic turesque modeling of Begas. Three distinct periods mark his work; first from 1880 to about 1888, when he was best known for his »ideal figures° and well-modeled nudes; second from about 1889 to about 1898, when the deaths of Emperor William I and Emperor Frederick III and the deaths of Bismarck and Moltcke called for large monuments throughout the empire. This is Eberlein's monumental_ riod, and among his best monuments the (m peror William I' in Mannheim may be men tioned. His third period began at about 1898, when he began to be interested in
motives: 'Man's First Sin,' 'Adam with Abel's Corpse,' 'Joseph of Aramathea holding the Dead Christ,' etc. These works, while greatly admired by some for their masterly modeling, are severely criticized by others for their »the atrical poses.° Nobody, however, denies •is great genius in designing monumental pieces of sculpture. Owing to his international repu tation along these lines he was chosen by the authorities of Buenos Aires to design and erect a national monument of the Argentine Republic. Of other well-known names it may suffice to mention Anton Ritter von Fernkorn (1813 78), a pupil of Schwanthaler, who settled in Vienna and whose many works mark a distinct epoch in the history of sculpture in Austria; Friederich Tieck (1776-1851), whose decora tions for the Schauspielhaus in Berlin and por trait busts are best known; August Kiss (1802 65), whose beautiful and daring composition of a mounted Amazon fighting a panther adorns one side of the entrance to the Old Museum of Berlin, while the 'Lion Hunter' by Albert Wolf (1814-92) adorns the other side; Friederich Drake (1805-82), whose statue of Frederick William III in the Tiergarten of Berlin is famous for its delightful reliefs on the pedestal; Fritz Schaper (b. 1841), whose admirers acclaim his 'Goethe Monument' as the best of the many erected in Germany; The odor Kalide (1801-63), the creator of the first modern statue of a Bacchante, full of life and daring; Adolf Donndorf, a pupil of Riet schel and popular sculptor of Bismarck busts; Viktor Tilgner (1844-96), the »father of realistic sculpture in Austria»; Kaspar Zum busch (b. 1830), whose
Consult Kraus, der christlichen Bode, der deutschen Plastik' • Liibke, der deutschen Reber, 'Geschichte der neue ren deutschen Kunst.)