Dannecker. A very spirited group of a Hunter defending his family against a Panther (264), by Widermann, of Munich * ; the statue of a Hunter (263), is a chef-d'œuvre by Wittig. Opposite the Stationery Court are excellent life-size statues of stags (193*), by Professor Rauch, of Berlin, excellent examples of that difficult branch of the sculptor's art-the study of animal nature. Beyond the Stationery Court, a little to the back, is a very beautiful group of a Pietà (196*), by Rietschel, of Dresden. The fine statues of Victory (184 to 188 inclusive), by Professor Rauch, are characteristic examples of that great sculptor's style, and of the successful variety of treatment in five designs for one and the same subject. And the statue of a Nymph holding a Basket of Fruits and Flowers (160), by Professor Drake, is a picturesque example of the "Romantic" school. A little beyond this is the Court of

ENGLISH AND GERMAN SCULPTURE,

which we may enter and explore with advantage.

In this Court is placed a selection of the finest productions of the English and German schools of modern sculpture, prominent amongst which is seen the noble colossal head of Bavaria, by Ludwig Schwanthaler, of Munich, who enjoyed a European celebrity. The original bronze statue to which it belongs, erected outside the city of Munich, is fifty feet in height, the pedestal on which it stands being thirty feet high. For ten years did the great artist, weak and broken in health, still devote himself with a true artist's love to the progress of his task but he was not destined to witness its perfect completion; and when the statue of the Genius of Bavaria was cast in bronze, its author had passed from amongst us. The statue was first publicly exhibited in 1850.

Opposite the head of Bavaria, is another example of those embodiments of towns and nations, which are so frequently to be found on the Continent. The present colossal statue allegorizes Franconia, a province of Germany; it is characterized by much nobility of conception, and worthily sustains the reputation of the modern German sculptors. The original, by Professor Halbig, is erected at Kilheim, in Bavaria.

In the centre stands a part of the monument of Frederick the Great at Berlin, designed by Professor Rauch; and near to it is

* These numbers refer to those in the "Handbook of Modern Sculpture."

The

placed a small model, showing the complete monument. equestrian statue of the King, which surmounts the largest of the two, deserves particular attention, as one of the finest examples of modern portrait sculpture; whilst the artistic management of the costume, the drapery of the cloak, and the general success seen in the treatment of modern costume, constitute the statue, in this respect, also, a model in art.

Amongst other works representative of the German school, may be noticed two statues of Nymphs by Schwanthaler (Nos. 202 and 203), remarkable for their beauty of form. Placed on either side of the head of Bavaria, are two colossal "Victories," by the same artist, from the "Ruhmeshalle," or Hall of Fame, at Munich. The life-size statue of a Danaid (188), by Rauch, also deserves especial notice, whilst Tieck's charming collection of statuettes (Nos. 253, 254, 255, 256, 257, and 258) claims equal praise.

Several examples of the works of the celebrated Thorwaldsen will also be found collected in this Court, and evoke especial admiration for the beauty of their forms, for their ideality of expression, and for the purity of sentiment which characterizes their conception. Amongst them we would particularly point out "Venus with the Apple" (217), the Three Graces (222), Mercury (219), and the very beautiful bas-reliefs on the wall, illustrating the triumphs of Alexander (226).

Amongst the productions of the English school, we would draw attention to Crawford's graceful statue of Flora (10), Wyatt's Bather (77), and a Nymph with an Urn (76).

On quitting this Court (towards the great transept) we enter that section of

THE PORTRAIT GALLERY

;

which is devoted to the portrait-busts of celebrated Germans amongst them will be found the greatest names from that crowd of remarkable men, of whom Germany, in modern times, has been the prolific mother. They are arranged chronologically and in regular succession as artists, musicians, poets, dramatists, scientific men, authors, statesmen, soldiers, prelates, theologians, and royal personages; amongst them are to be remarked Beethoven (321), Mendelssohn (331), Goethe (337), Blucher (360), Berzelius (354), Handel (314 A), Humboldt (351), Radetzky (370), and the reigning King of Prussia (384).* In order the better to appreciate this,

*These numbers refer to those marked in "Handbook to the Portrait Gallery.'

and the three remaining sections of the Portrait Gallery, we refer the visitor to the Handbook of the Portrait Gallery, which contains not only a notice of the lives, but general information as to the character and claims to renown, of the several notabilities.

Returning to the nave, the visitor will find, at the angle of the great transept, a cast from the colossal bronze statue of Sir Robert Peel by Marochetti, from Manchester; and turning at this point, to the left, may proceed to examine the statues and monuments at the west end of the great transept. The subjects ranged in front of the German portrait gallery, are selections from the works of the Roman school of English sculpture, including a fine collection of the works of Gibson and Wyatt. Amongst the principal productions of the latter, may be noticed Penelope (82),* a charming group of Ino and Bacchus (73), Zephyr and Flora (80), a Huntress (79), and a graceful composition of a Girl with a Lamb (81). The chief works of Gibson's chisel are the Flora (14); a very beautifully conceived Venus (13); the wounded Amazon (16), which it will be interesting to compare with the same subject, the work of an ancient Greek sculptor (to be noticed shortly); a Hunter holding in a Dog (20); the graceful statue of Hylas (22); Cupid disguised as a Shepherd (15), and the very elegant group of Aurora borne by the Zephyrs (21).

The central place, at this end of the great transept, is occupied by

THE CHORAGIC MONUMENT OF LYSICRATES.

This beautiful example of ancient Greek architecture is usually styled the Lantern of Demosthenes, on account of a tradition, which ascribes its erection to that celebrated orator. No weight, however, can be attached to this supposition, although it may be, and in all probability is, due to the time of Demosthenes.

An inscription on the architrave informs us that this monument was erected by Lysicrates of Kikyna, at his own expense, in order to commemorate a musical triumph obtained by various members of his tribe or clan, the Akamantis. The ancient Greeks were in the habit of holding a species of musical tournament, in which the most celebrated masters of the art vied with each other; in this particular case, the palm was awarded to Theon, the flute

* These numbers refer to those in the "Handbook of Modern Sculpture."

player, and the chorus of boys led by Lysiades; the magistrate for the year being Evanectus. It was to celebrate this triumph that the monument was erected; the tripod at the summit being the prize awarded, and on it was sculptured the story of Bacchus transforming the Tyrrhenian pirates into dolphins, which was the subject of the music. A tripod was the usual prize granted in these contests, and the victor either placed it in one of the temples, or, as in the present instance, consecrated a monument specially for its reception.

Around the pedestal of this interesting work are placed four noble Greek statues of Zeno (321), Aristides (322), Æschines (323), and Phocion (324), and on either side are seen the celebrated statues of men and horses, now at Rome, on the Quirinal hill, generally known as

THE MONTE CAVALLO GROUP.

The figures are supposed to represent Castor and Pollux, and the two groups are respectively attributed to the sculptors Phidias and Praxiteles, their names being found engraved on them. They are admirable and striking works, remarkable for the life and vigorous action displayed in them.

Passing these ancient classic monuments, and directing our steps along the northern side of the transept, we find several works of Greek sculpture, including a poetically conceived statue of Polyhymnia (341). The spirited figure of the Dancing Faun (352), from Florence. The admirable seated portrait statue of Posidonius (342). The Sleeping Faun (408). A copy of Venus de' Medici. A statue of Mercury, seated. The Discobolus of Nausidas, from Naples. And the wounded Amazon (330). Amongst the remaining subjects, the Faun with a Goat may be selected as a characteristic example of the Roman style of sculpture.

At the back of these, will be found another section of the Portrait gallery, consisting of the busts of celebrated Englishmen and Americans, arranged as previously described in the German portrait section; among the most remarkable may be selectedInigo Jones* (388), Sir C. Wren (389), Garrick (390), Flaxman (394), Bacon (420), Locke (422), Newton (423), Franklin (424 A), Adam Smith (426), and Washington (451).

* These numbers refer to those marked in the Handbook to "Portrait Gallery."

At the junction of this angle of the great transept with the nave, is placed the celebrated Farnese Hercules, from the Museum at Naples; a fine example of antique sculpture, characterized by a massive and somewhat exaggerated muscular development, not however altogether inappropriate to the Hero of Physical force. Keeping still to the left, along the nave, we remark several antique statues including the Antinous as Mercury from the Capitol at Rome (316), and the Adonis from Capua (213).

Before reaching the Egyptian Court, we turn to the left, and a few steps bring us to the

GREEK AND ROMAN SCULPTURE COURT,

In which, as the name denotes, are collected some of the chefd'œuvres of the Greek and Roman schools; the first group that attracts the eye, being that in the centre of the Court, known as the

TORO FARNESE, OR FARNESE BULL.

The original of this beautiful group, which is now preserved in the Museum at Naples, was discovered in the Baths of Caracalla at Rome, and derives its name from having been placed in the Farnese Palace in that city. The subject is the revenge of Queen Antiope and her two sons, Zethus and Amphion, on Dirce, for seducing the affections of her husband, Syeres, King of Thebes. The sons, enraged at the insult offered to their mother, are represented as about to revenge themselves by tying the unfortunate Dirce to the horns of a bull, when their mother, moved with womanly pity, intercedes for her rival, and induces them to forego the intended punishment. According to Pliny, the Toro Farnese was the work of the Rhodian artists, Apollonius and Tauriseus. Among other remarkable subjects in this Court, we would draw attention to the colossal "Velletri Pallas," (407) so called from having been discovered at Velletri, near Rome, and now preserved in the Louvre, at Paris; the Dying Gladiator (309); a Boy with a Dolphin; and a colossal head of Pallas (409).

A fine collection of Greek ideal and portrait busts will also be noticed in this Court; amongst which the colossal heads of Vespasian (332),* Trajan (354), Pertinax (379), Lucius Verus (361), and Titus (333), are particularly deserving of notice. The visitor

* These numbers refer to those in the "Handbook to the Greek Court and Nave."