STATUE OF A BACCANTE.

by Signor Tadolini professor to the Academy of S. Luke, etc. etc.

Some have said that dancing figures, except in bas-reliefs, are incompatible with the severity and dignity of sculpture. We shall not dispute the point, but respectfully submit that extreme grace may in some degree compensate the want of stately dignity. Of this we have an illustration in the figure before us, for such is the grace, lightness and elegance which it displays, that we cannot withhold from it the meed of our admiration. It possesses much elasticity in the limbs; and much grace in the attitude. She holds a tambarine on high, thus displaying arms so finely formed as might entitle her to join with Ceres in the Eleusinian rites. Whilst she dances to its cadence, the drapery, agitated by her lively movement, displays throughout its transparent folds the exquisite contour of her beautiful limbs. Cupid is seated near her in the act of striking the lyre: he is looking up at her lovely face; and his countenance harmonises with the melodious strains of his lyre and the merry dance. This group is well suited to adorn the ballroom, where the fair votaries of the dance may strive to rival the elegant and graceful movement of the Danzatrice, and eschew the dangerous arts which the winged boy sometimes employs, in the midst of the festive scene, to pour into the unsuspécting ear the sweet seductive sounds of crafty adulation or unhallowed counsel.

CATALOGUE

OF

TADOLINI'S WORKS

4.

A

Colossal group of Theseus and Ariadne, executed for Mr. Beaumount.

2. A Group of Venus Vincitrix and Cupid executed for the Prince Esterhazy.

3. A Group of the Cupid and kid, executed for the Prince of Syracuse.

4. The rape of Ganymede by Jupiter under the form of an Eagle, executed for the Duke of Devonshire and for Count Demidof.

5. A Group of Love and a Bacchante, executed for Lord Londonderry.

6. A Group of Venus and Cupid, executed for the Prince Ercolani.

7. Venus with a Dove.

8. A Group of a Bacchante and Cupid executed for the Prince Borghese.

9. A Group, representing Cyparissus bewailing his deer.

40. Monument of the late Queen of Sardanach,

consisting of eleven statues, and three bas

reliefs, executed for the City of Sardanach

in Hindoostan.

11. A Colossal statue of St. Peter, executed for Don Pedro, Emperor of Brazil.

12. A statue of San Marino, the founder of the

Republic, for the City of Rio de Janeiro. 13. A Colossal Statue of Christ, for the Church of S. Michele, executed for Cardinal Tosti. 14. A Colossal Statue of St. Paul, ordered by his Holiness Gregory XVI. for the Cathedral church of St. Paul.

15. A Colossal statue of St. Francis de Sales. executed for the Court of Turin. Amongst the Busts are those of Pope Pius the VIII. and of Pope Gregory XVI. executed for the University of Bologna; of Rossini; and of the Emperor of Russia.

AN ESSAY

ON

SCULPTURE

BY

COUNT HAWKS LE GRIGE

ETC. ETC. ETC.

To such of our readers as may not have given

much attention to the study of the liberal arts a brief historical account of the origin and progress of sculpture and a compendious exposition of its leading principles may, we trust, not prove unacceptable. It seems a natural sequel to the preceding delineations, and may, it is hoped, serve to enable some of our readers to appreciate more justly the merits of those sculptors, whose works we have made pass in review before us, as well as the productions of ancient Roman and Grecian art, which are to he found in the private galleries and public museums of Rome.

With regard to the origin of sculptural design various opinions have been advocated as well by the Ancients as the moderns; but on this as on

every other subject that regards man's early history, the most authentic as well as the earliest information is to be found in the Inspired Volume. In Exodus we read of the images of Laban and the golden calf, the latter made by Aaron and the Israelites, and worshipped during the absence of Moses on Sinai. We also read that the Almighty commanded statues of Cherubim to be made to extend their wings over the Ark of the Covenant, and Cherubim to be made to adorn the veil of the tabernacle. The strong tendency of the Israelites to idolatry accounts for the strict injunctions which forbad them to worship any image; whilst the erection of statues in the temple proves, as Flaxman justly obobserves, that the command was not against the images but against the abuse of them for idolatrous purposes.

"It is" adds he, "a most gratifying reflection to the practitioner of the sister arts, that the Almighty condescended to employ them as the handmaids of religion, and that he particularly inspired Aholiab and Bezaleel to produce the most admirable and lively decorations of angelic forms. for his tabernacle " (a).

The Father of profane history records that the Egyptians erected the first altars and temples to the gods, and carved the figures of animals on stone (b); and their remaining works demonstrate the veracity of the Historian. Of these early labours

(a) Lectures on sculpture num. 2.

(b) Herodot. Euterpe.