Bologna, a chef-d'œuvre of the 16th century school.

Among the busts will be remarked those of Raffaelle and Michael Angelo, Inigo Jones and other celebrities of the Renaissance period.

Still advancing, a few steps to the left, will lead us into

THE GOTHIC RENAISSANCE SCULPTURE COURT

Or Court of Monuments of Christian Art."

The first subjects that attract our notice as we enter are the very interesting crosses of the early Irish Church, and the richly sculptured bronze column from Hildesheim Cathedral in Germany, a fine example of the Byzantine period.

Beyond these are monuments of the Gothic period, amongst which are conspicuous the Cantilupe shrine from Hereford Cathedral, and the effigy of Edward III., from Westminster. The central tombs of Bishop Wakeman, from Tewkesbury, and of Bishop Bridport, from Salisbury (the last-named being that to the left).

The tomb of Henry VII., an interesting example of the Italian Renaissance style in England, at an early period of its introduction, and the fine monument of Cardinal Zeno from Venice, occupy the further end; and the equestrian statue of Gattamelata, by Donatello, forms a conspicuous feature in this portion of the Court, which is completed with a cast of the celebrated Moses, by Michael Angelo.

As we quit this Court, we remark in front of it two statues of Perseus one by Cellini, and the other by Canova. That on the left, as we face the Court, by Cellini, is characterized by a grandeur of conception and power of execution, which place his name among those of the greatest sculptors of his day.

For minute and interesting information respecting the monuments, and all the statues on this side of the Palace, the visitor is referred to the Handbooks of the Medieval and Italian Courts (by Messrs. M. D. Wyatt and J. B. Waring), where they are fully described.

The section of the Portrait Gallery, situated next to this Court, to the most celebrated characters of Italy, arranged in therto observed. The great nobility of expression heads will not fail to arrest the visitor, and to respect for the intellectual vigour which marks the e of the most favoured spots-with respect to Art s surface. We select from amongst them, BrunelLeonardo da Vinci (141), Michael Angelo (143),

Palladio (155), Canova (168), Paganini (170), Dante (173), Tasso (177), Alfieri (180), and Galileo (185 a).*

Bending our steps from this department to the junction of the nave and grand transept, we find the colossal statue of Rubens, by Geefs of Brussels, erected in the cathedral square at Antwerp, of which city Rubens was a native: the original is in bronze, and a fine example of the modern "Romantic" school of sculpture. Advancing along this side of the transept, and continuing across the garden end, we observe several chef-d'œuvres of the late celebrated Italian sculptor, Canova: conspicuous amongst which are the well-known "Graces" (125), the Dancing Girls (136, 137), Venus and Adonis (126), Mars and Venus (135), Venus emerging from the Bath (131), a group of Hebe and Paris, and a Magdalen (138).†

one of

The finely designed equestrian statues of Castor and Pollux at this end of the transept, are cast from the originals in bronze, by San Giorgio, of Milan; and form no unworthy pendants to the ancient Greek sculptures of the same subject, on the opposite side. The equestrian statue in the centre is the celebrated Colleone, modelled by Andrea Verocchio and cast by Leopardo. The original, in bronze, is erected at Venice, and has always been admired as one of those Renaissance monuments, in which energy and power are exhibited with unusual spirit and knowledge. Fringing the southern side of this transept are placed subjects from the extinct French school of sculpture, the earliest characteristic example of which may be seen in the Milo, by Puget (117). Amongst the remaining statues we would notice the Bather, by Houdin (112), Julien's Amalthea (113), a Bacchante by Clodion (90), and Venus at the Bath (83), by Allegrini.† At this angle of the nave and transept is placed

THE COLOSSAL FIGURE OF DUQUESNE.

The original of this fine bronze statue is erected at Dieppe in honour of the great French admiral, Duquesne. It was designed and executed by the sculptor Dantan, and is remarkable for the noble expression of the form and its spirited "Romantic" treatment at the hands of the artist.

From this statue, extending at the back of the extinct French school, will be found the fourth and last section of the Portrait

*Numbers of "Portrait Gallery."

Numbers of "Handbook of Modern Sculpture."

Gallery, containing the illustrious men and women of France. Amongst them we remark Jean Goujon (196), Felibien (203), Rachel (216), Corneille (218), Lafontaine (220 A), Molière (221), Racine (225), Voltaire (233), Le Sage (230), Buffon (245), Massena (279), Ney (283), and the present Emperor Louis Napoleon (312).* In the centre of this compartment is another of Mr. Rimmel's fountains, executed from a design by Mr. John Thomas. The crystal basin, Parian marble figures, ebony pedestal, and natural flowers, harmonize excellently. At the back of this compartment, and corresponding to the German and English sculpture on the opposite side of the nave, is

THE COURT OF FRENCH AND ITALIAN SCULPTURE.

Amongst the very beautiful productions of the sculptor's art to be found in this Court, our space prevents more than a mere enumeration of some of the most remarkable, such as a colossal group of Cain (99), by Etex; "The Chase" (No. 94), by Jean Debay, of Paris; Melpomene, by Rinaldi (154); Ishmael, by Strazza (160); Diana, by Benzoni (123); Esmeralda, by Rossetti (154); a child sewing, by Magni (148); and "the first cradle," by Auguste Debay (96), which deservedly occupies the place of honour in the centre, being one of the most charming works of modern sculpture; Venus disarming Cupid, by Pradier (116); Night, by Pollet (115); The Fates, by Jean Debay (93); Cupid in a Cradle (102), by Fraiken, a very prettily conceived and charming design in the style of the modern school; Venus with a Dove (103), by Fraiken; a Dancing Faun, by Luquesne (114), designed with much vigour; and, lastly, a Neapolitan "Dancer,"by Duret (98).*

At the back of this Court, on the garden side, are placed some remarkable historical statues of great interest: L'Hôpital (259) Chancellor of France under Henry II. (A.D. 1562), D'Aguesseau (269) Chancellor under Louis XIV.; Louis XIII. from the original in the Louvre, by Couston, a pupil of Coysevox. Louis XIV. (308 ▲), by Coysevox; † and the same monarch when a boy (308), from a bronze now preserved in the Museum of the Louvre. The remaining statue is that of Louis XV., by Couston (fils), an interesting work of the early part of the eighteenth century.

Quitting the Court, we continue our examination of the statues, which extend along this, the garden side of the nave, commencing

* Numbers of "Portrait Gallery."

Numbers of "Handbook of Modern Sculpture."

next to Duquesne with Monti's admirable allegorical statue of Italy (159). The most notable of the succeeding subjects are the Prodigal Son (145), by San Giorgio; David (147), by Magni, an artist whose studies of every-day life are remarkable for their truth to nature; Cain (99), by Etex; Geefs's Malibran (108); a colossal group of the Murder of the Innocents (142); a grand seated figure of Satan, by Lough (41); the Horse and Dead Knight (46), also by Lough; a statue of Dargan, the munificent founder of the Irish Exhibition of 1853, by Jones (403*); an admirable statue, by Moore, of Sir Michael O'Loughlin, Master of the Rolls in Ireland, and the first Roman Catholic raised to the judicial dignity since the Revolution of 1688 (473). Near to these is a characteristic and striking seated statue of Lord Brougham, by Papworth senior.

We now bend our steps to that junction of the Transept and Nave which is marked by a colossal statue of Huskisson, the first statesman to pioneer the way to Free-trade. It is a noble work in the Classic style, by Gibson,

In this portion of the Transept are several works of the English School of Sculpture, amongst which may be particularly remarked a statue of Shakspeare (407в) by John Bell; the Maid of Saragossa; a very picturesque and vigorous ideal figure of a heroine, who has also inspired the pencil of Wilkie; The Dorothea, so well known to the public by small copies in Parian marble; a graceful statue of Andromeda, and Jano Shore. All these specimens of Bell's power as a sculptor are on the north side of this part of the Transept. Opposite to them will be found graceful statues of a Nymph (65) and Psyche (64), by Sir Richard Westmacott. A Dancing Girl (50), by Calder Marshall, R.A. The First Whisper of Love (49), Zephyr and Aurora (52), and an excellent portrait statue of Geoffrey Chaucer (53), the father of the school of English Poetry, also by Marshall. Nearer the Nave is an ideal statue of Shakspeare by Roubilliac, cast from the original, still preserved in the vestibule of Drury-lane Theatre. The colossal statue at the angle is that of the great German Philosopher, Poet, and Writer, Lessing, by Rietschel of Berlin. Along the centre of the Transept are placed the Eagle Slayer (6) by Bell, a work remarkable for its vigorous treatment; the well-known and graceful composition, also by Bell, of Una and the Lion; and the fine monument erected by the good citizens of Frankfort to the memory of the first printers, Gutenberg, Faust, and Schoeffer. The central statue represents Gutenberg,

* Numbers of "Handbook of Modern Sculpture."

who rests with an arm on the shoulder of each of his fellowworkmen. The original is by Baron Launitz of Frankfort, and is a creditable instance of the public spirit, which does not, after the lapse of centuries, forget the originators of The Press-that mighty power,-which performs at this day so grand a part in the governance, and for the benefit, of the civilized world. On our way towards the Queen's screen we pass several excellent works of statuary art, amongst which may be noticed, A Faun with Cymbals (66), by R. Westmacott, R.A., and a David (67*) by the same sculptor; and opposite to these Thorwaldsen's beautiful Venus with the Apple (218), and a fine statue of Erato (174), by Launitz.

LIST OF MODERN SCULPTURES.