Eduard H. Hillmer was born at Dresden in 1842. He devoted him self originally to painting, in which field he attained a recognized stand ing, but latterly he has turned his attention to sculpture with a marked degree of success. His statue of Friihivr(p/. 44, fig. 3) indicates the spirit which pervades his works—a tendency outlined by Wagner and intended to reintroduce into German art the ideals of ancient Teutonic mythology in place of the classic legends which have so long supplied the substance of art-expression.
Otto a contemporary sculptor and resident of Munich, also exem plifies in his work the tendency toward the expression of new ideals in modern art. His Teuton zeith a Slain Boar (fl. 44, fig. 4) vividly embod ies this growing sentiment, and is a characteristic example of recent styles in German plastic art.
Johannes Pfuhl, born iu Lowenberg in 1846, also studied under Schievel bein at Berlin. He was the successful competitor for the monument of LThland, Goethe, and Stein erected at Nassau. Pfuhl has visited Italy. Among the portrait-busts executed by him is one of Goethe from a mask taken when the latter was fifty years old, and one of Prince Otto you Bis marck. He has also produced some excellent ideal subjects, among which are the Inquisitive Girl and Perseus freeing Andromeda (pl. 43, fig. 3).
Gustav born in 1847 at Spiekershausen, near Hanover, is one of the most talented and successful of contemporary German sculp tors. His style and compositions are reflective of classical suggestions.
Among his works may be mentioned a notable relief in apotheosis of the German emperor; an alto-relievo of The Artist and Nature, one of the four groups adorning the vestibule of the Jubilee Art Exposition at Berlin in 1886; Boy extracting a Thorn from his Foot, an imitation of the cele brated antique statue of the same subject in the Capitol at Rome; and the Greek Flute player, illustrated in Figure 2.
survey of German sculpture at the present moment is full of hope. German sculptors are emancipating themselves from the influence of the pseudo-antique, and the new school of realism is out growing much of the extravagance which at one time brought it into disrepute. .A feature which contemporary sculpture shares with most other art-schools of the period is the tendency to genre, or the repre sentation of familiar, every-day bits from human life. Naturally, such subjects neither demand nor allow the severe simplicity and repose essential to the best expression of lofty ideals and profound allegories. Whether genre is as high a form of sculpture as classic it is not essential to discuss here; it is sufficient to record the fact that it is a style peculiar to the sculpture of this period.