Alessandro Algardi, a native of Bologna, was contemporary with Bernini, and executed many works of merit. Like other sculptors of the time, he was tempted away from the more valuable qualities that should characterise sculpture, by the endeavour to gain distinction by the display of execution and the picturesque effect of his compositions. The great work of Algardi is his alto-rilievo, preserved in St. Peter's, of the discomfiture of .Attila by the miraculous appearance of St. Peter and St. Paul. This work is in marble, in five pieces, and measures about thirty feet in height by nearly eighteen In width. Alga di studied the paintings of his contemporaries for the manner of treating his subject; and the consequence is such as might be expected in an art iu which it is totally impossible to produce those) effects of distance, clouds, and perspective which only can be given by colour. There are merits in parts of this great composition, which increase the regret that is felt at the faults that are so apparent in other portion", of it. In the un pleasing task of following the traces of this decay, it is refreshing occa sionally to find examples of a purer taste. Francesco di Quesnoy, better known from his title of II 'lamming°, was a native of Brussels. His early works are said to partake very much of the character of those of Beniini and Algardi • hut it is recorded that he was led to copy and study very young children (petty), from admiring the beauty of those introduced into his pictures by Titian, and lie ultimately became the first sculptor in this class of representation. There are few, whether they have travelled or not, who have not had an opportunity of admiring some specimens of this artist's skill in the round, healthy, playful character of his infants. No artist, except perhaps Raffaelle, ever succeeded so entirely in portraying the peculiar charm of beautiful childhood. lie ',reserved just the right medium between tameness and exaggeration. In the church of La Madonna di Loreto at Rome there is a work by Fiamsningo, which represents St, Susanna, and it may fairly be considered one of the most successful efforts in sculpture of the age. The expression of the head is especially worthy of atten tion. It has simplicity and intenseness combined with considerable beauty of form. Francesco 3locchi obtained a high reputation in his time. The work by which his merits may best be judged of is in the Duomo of Orvieto. It represents the Annunciation, in two distinct figures. The angel is supposed to be descending, and is supported on a cloud; while the Virgin, in an attitude of shrinking modest fear, is bowing her head as she receives his announcement Its faults are the faults of the age,—a want of simplicity and too much of the pic turesque in effect As examples of elaborate execution, further illus trating the decay of pure taste and the fall of sculpture, the works of San Martino and Corridine may be noticed. Some statues by these artists are preserved at Naples, in the church of S. Severe. One re presents the dead body of our Saviour, covered with drapery, under which may be traced all the forms of the figure : a piece of ingenuity of no very difficult attainment, but which always surprises and delights those who are ignorant of the mechanical processes of sculpture, and who think that whatever has the appearance of being difficult in art must be so, and measure out their admiration according to their estimate of the ingenuity with which it is overcome. The other is a figure of Modesty, veiled. There is also a third statue, of Deceit, within a net—a very curious piece of execution. These works attest the patience of their respective authors, and are monuments of their bad taste.
The works of the contemporary and immediately succeeding sculptors do no more than prove the rapid consummation of the fall of sculpture. Occasionally an artist of better taste or higher feeling appeared ; but he was not seconded or supported by any refined feeling in patrons, nor inciting sympathy in the public, and the enumeration of works by the Rusconi, Bonazzi, Tagliapietra, Torretti, Morlaiter, Foggini, and others, would assist but little in conveying any distinct impression of the slight shades of difference in the generally fallen and decayed practice of the art.
In the general survey of the rise, progress, and decline of sculpture in modern Italy, may be seen, very nearly, the history and condition of the art in other European countries. The artists of Italy spread them selves over the Continent, and wherever works of design were required they probably were called upon to execute them. The influence of the taste of the schools of Lionardo da Vinci, Primaticcio, Benvenuto Celina, Mudd, and others, will be visible in the works of their different times, in France and other countries ; and even when it can be ascer tained that sculpture was produced by native artists, it generally will be found that their knowledge of art was due to Italian models or Italian masters.
The French historians attribute to native artists the tomb of Philip he liartli, which was executed in 1404, as well as that of Francis II. The first sculptor who really was distinguished in that country was Goujon. lie executed various important works in the 16th century. Among the most distitiguished sculptors of succeeding times may be honourably mentioned Piion, Anguier, Puget, Girardon, Le Poutre, Le 3loine, and Coustou ; but sculpture soon became decorative in France, and flutter in composition and design, and minuteness in execution, characterised their art almost from the lath century to a very recent period. The extreme of the worst style of French sculpture is seen in the monument of Marshal Saxe by Piga', which was erected about the year 1775.
The earliest sculptors of Spain who are mentioned by their historians of art are Aparicio and Rodolfo, who lived about the year 1033. The next is Jayne or Jacques Castyls of Barcelona, who is said to have executed various statues in the facade of a church at Taragona in the year 1376. The name of Anrique occurs in 1380, and of F. Gonzalez in 1399. It seems, however, that no great progress was made in the arts in this country till the 16th century, when Spanish artists went tq Italy to study, or Italian artists established themselves in Spain.
The history of sculpture in Germany would lead us into a wide field of inquiry. It is not necessary towards illustrating the general history of the progress of the art, which may be traced with sufficient accuracy through the different Italian schools; and the examination of the causes of its rise and the changes of style it has undergone amongst the Ger mans would carry us into speculation, or at best into its merely national or local history, rather than assist us in giving a general and compre hensive view of the art, LIffiler, or Loftier, is said to have executed the bronze statues which stand round the tomb of the Emperor Maxi milian at Inspruck : he died lu 1565. Others attribute them to two brothers of the name of Godi, who lived at the beginning of that century. The latter name suggests the probability that artists from Italy were then established in Germany, or were called upon to execute works of this description.
The political disorders in which Italy was involved in the earlier part of the 13th century, may account in some measure for the inac tivity in which the arts remained for some years. The wars of the Succession in the kingdom of Naples, the change of dynasty in Florence in the year 1737, cud the unsettled state of other parts of the country,. diverted men's minds from such pursuits. Cicognara attributes much also to the debased or degraded state of feeling among his countrymen. But his condemnation is more general and severe than appears to be warranted by facts, and it certainly seems unjust to attribute to the moral degradation of Italians of the 18th century the decline of art which had commenced so long before. It is admitted that, prior to this time, taste in art had greatly deteriorated. The effect of the state of feeling described as existing in this later time was to leave sculp ture in its fallen state, when a little energy might possibly have restored it. From 1748 to 1796 Italy enjoyed an uninterrupted course of peace ; and it is true that during that period there scarcely was a work in sculpture of any magnitude or comparative excellence produced.