. He executed many works in Munich, the
principal ones being the interior decoration of the Glyptothek; also
that of the Koenigsbau and two groups for the Walhalla. A prominent work
by this master is the bronze statue of Bavaria, which is fifty-four feet
high and stands in front of the Ruhmeshalle. He also made twelve
gilt-bronze statues of Bavarian sovereigns. Schwanthaler had remarkable
powers of invention and a fruitful imagination; in these points he ranks
with the first of modern sculptors; but his works rarely rise above what
we call decorative art, and in spite of his excellent gifts he lacked
the power to arouse any enthusiasm for his statues.

There are many other names that might be mentioned in connection with
modern sculpture in Germany. Nowhere have the monuments and portrait
statues and busts reached a higher excellence than in what we may call,
in general terms, the Berlin school. Profound attention has been given
to the proper reproduction of the individual characters of its subjects,
while the art has not been allowed to sink into caricature or
commonplaceness. Nowhere does the traveller better appreciate the art of
our own day than in the sculpture of Germany.

But there are exceptions to this rule; some such artists as THEODORE
KALIDE and LUDWIG WICHMANN are wanting in the serious qualities of
Schadow, Rauch, and their followers, and sometimes fall into a coarse
realism; but in spite of this, the revival of love for the antique,
which began with Canova and his time, has borne rich fruit in the works
of modern German sculptors.

In France the spirit of modern sculpture has been largely that of the
severe classic style, and it has shown many of the same qualities that
we have seen in modern German sculpture; but the different
characteristics of the two nations have had their influence here as in
everything else. In France the artist has aimed at a fine
effect--flowing outline and dazzling representations of dramatic
motives--far more than the northern sculptors have done. There is less
thought and depth of feeling, more outward attraction and striking
effect. The classic taste which asserted itself in the time of Canova
was adopted in France, but in a French manner; and one of the earliest
artists who showed its effects was FRANCOIS JOSEPH BOSIO (1769-1845),
who was much honored. He was made a member of the Institute of France
and of the Royal Academy of Berlin: he was chief sculptor to the King of
F