Ludr4..1f. originality of Kiss becomes evident if we compare him with one of his most noted contemporaries, Ludwig M. SchWanthaler. This sculptor was born in 1802 and died in 1848, at the early age of forty-six. During this brief career he executed an immense number of works, and he will be remembered at least for the quantity if not for the quality of his productions. Schwanthaler studied at Rome, taking Thorwaldsen as his model, although in later life he adopted a more romantic style. As a disciple he was inferior to the master. He wrought with great rapidity; his imagination was lively, if not profound, and the early and steady patronage of the art-loving king of Bavaria afforded him abundant opportunity to display his talents. Among the chief works of Schwanthaler are the interior decorations of the Glyptothek Munich, twelve bronze portrait-statues of kings of Bavaria, and two groups in the Walhalla at Ratisbon. On the north pediment of the latter he wrought the group of Hermann's Slaughter qj the Romans (p1.
t)). Hermann stands victoriously in the centre and stamps his foot upon the lietor's axes, the emblem of Roman sovereignty; two Romans still press forward, hut the commander, Warns, sees that his cause is lost, and thrusts his sword into his own breast; a Roman with the eagle stoops down, and a fallen warrior lies at the end of the pediment. On the other side a German woman is trying to heal the wound of a prostrate hero; a priestess with a sword kneels by the bard, who is striking up the song of victory to the tones of the harp; and three Germans rush valor ously forward for the final struggle. The Romans and Germans are distinguishable by their clothing and by their features.
Another of Schwanthaler's notable works is the colossal statue of aZ'a rid. This statue is fifty-four feet in height, and stands isolated on the side of a hill at a distance from the city. Though an imposing work, it has added nothing to the reputation of the artist. Schwanthaler's art was classical and severe in style, hut it lacked energy and life, and the impression it leaves is akin to insipidity.
Ern cl Ri•Ischel, born in 1804 and died in 1861, was less ambitions than the preceding in choice of subject, but was more successful in reach ing the end lie sought. He imitated the methods and Style of Rauch, whose pupil he was, and executed many portrait-statues and busts dis tinguished for simplicity of treatment and grasp of character. A good example of his style is his statue of the German intellectual hero Lessing i) in the dress of his day, which the artist has presented uncon ventionally and in a pleasing style. The model for the statue of Luther
for the monument at Worms was his last work.
Friedrich Johann Heinrich Drake, another distinguished pupil of Ranch, was born at Pyrniont in 1805 and died in 1882. Few sculptors have been more honored and appreciated. He was a member of half the academies of Europe, professor of sculpture in the Academy of Berlin, and chevalier of the Red Eagle and of the Legion of Honor. The world's honors are often conferred on talent, but withheld front genills—at least, during the lifetime of the artist—and do not necessarily imply a measure of merit. Drake, without being a great sculptor, was an artist of very respectable abilities, and did not slavishly follow the style of Ranch. His art inclines to the sensational. His crowned I' c oi y is undoubtedly one of the finest examples of modern German sculpture. A Dying .Soldier to 7,•hont / Yclo,:y shows a Crown is also a fine work, highly popular in subject and treatment. One of Drake's most elegant and correct works is the monument to Schinkel; another is his statue of his master, Ranch, which we illustrate in Figure 6. In the portrait-statues and busts—of which he modelled a large number, sev eral of them colossal—Drake was very successful.
Friederich A. 1 /. bein , who was born at Berlin in 1817 and died in iS67, was a pupil of the Berlin Academy and a fellow-student of Drake under Rauch. Schievelbeiu was active at Berlin, being much employed on public works. The group of Minerva instructing a Young Warrior OM 40, fig. 7) is one that he was commissioned to execute for the Palace Bridge, over which passes the avenue from the Brandenburg Gate to the palace. This group is one of a series, and denotes military life.
Ernst Jules Hiihnel, who was born at Dresden in 1811, is a sculptor who has contributed to aid the present departure from the practice of what is called classic art. A student under Rietschel and Schwanthaler, his works possess the action and strong dramatic expression seen in the sculptures of Carpeaux and other recent French sculptors. His statue of Raphael (fig. io) shows us the most famous of painters in his mild, serene disposition—the artist who made manifest in beauty of form the beauty of soul. Among HiihnePs chief works are a Bacchic Scene and a statue of Charles VI. for the University of Prague. Haagen, Hermann Heidel (1810-1865), and Theodore halide (18o1-1863) are sculptors of sim ilar character, although the last named exaggerates the energy of action to the barest sensationalism.