DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.1310#0305
246 THE GREAT EXHIBITION
tender handling of the marble. 3.—Love riding on a Panther, whose course he tries
to arrest, eagerly grasping his neck with both his hands. This beautiful conception
was quite in the spirit of ancient art, and was expressed with great vigour of hand.
To Mr. T. Sharp, of London, for his marble figure, representing a Boy frightened
by a Lizard. This was a remarkable work—quite unlike in choice and treatment of
subject any we have as yet noticed. The artist did not hesitate to express that dryness
and meagreness of form which characterizes the particular stage of boyhood selected
for representation; but these details were executed with the utmost accuracy, and with
an admirable feeling for nature. The eye of the ordinary observer, habitually ac-
customed to the specious effect of mere smoothness of surface, may, in some degree,
be repelled by this truthfulness of representation; but, like all other truth, it will not
the less be ultimately appreciated, and we may regard this figure as in itself a proof how
great an effort the English school of sculpture is making in the right direction.
To M. E. Simonis, of Brussels, for his equestrian statue of Godfrey of Bouillon, sad
other works. A colossal figure of Godfrey of Bouillon on horseback, raising the
banner with which he led the crusaders to the Holy Land. Cast in plaster from the
original in bronze, which is placed in the Place Royale, at Brussels. In this work the
expression of the head is full of life and animation, the action very emphatic, the execu-
tion very careful. To compensate for the optical diminution which causes statues placed
in the open air to appear meagre and deficient in mass, the artist in this group exaggerated
the forms both of the warrior and the horse. This departure from nature was perhaps
carried too far. In his group representing Truth trampling on Falsehood, the same artist
showed power in the representation of delicate female forms, and the work was carefully
executed. Two figures of boys, one of whom is crying over his broken drum, prove
that M. Simonis has been successful in that class of subjects called "genre," and which
are altogether treated in a realistic manner.
To Signor G. Strazza, of Milan, for his reclining figure in marble, representing
Ishmael. We have already noticed this striking and admirable performance with due
praise. Perhaps the truthfulness with which the dying youth is represented, renders
the subject too painful a one for general approbation. In the treatment of this subject
by painters, an angel bringing help to Ishmael is always introduced, and from the
absence of this figure, the impression produced 'by the work of Signor Strazzi is
unrelieved by any mitigating circumstance.
To Mr. E. Thrupp, of London, for his statue of Arethusa, a recumbent figure,
gracefully enough designed, but rather deficient in life and individuality. A Boy
catching a Butterfly, was a very carefully executed and attractive work.
To M. J. Tuerlinckx, of Malines, for a figure in marble, representing the cele-
brated Giotto when a boy, looking at his first attempt at drawing, with an expression of
joyful surprise. The conception of this work was very spirited, and it was carefully
executed.
A prize medal was also conferred upon the representatives of the late Mr. L. "Watson,
of London, for his admirable portrait statue of the celebrated Flaxman, a noble per-
formance, which we have already sufficiently described. As also for the colossal figures
of Lord Eldon and Lord Stoweil, which showed how greatly this artist excelled in
Iconic sculpture.
We next turn our attention to M. Albert Wolpf, a native of Berlin, who also received
a prize medal for his group of a Young Maiden holding a Lamb in her arms. This
figure was entitled by the sculptor, Innocence, and its purity and simplicity of cha-
racter fully expressed such an idea. The drapery was throughout treated in a plastic
style, and the execution was exceedingly careful. M. Wolff, though a Prussian by birth,
tender handling of the marble. 3.—Love riding on a Panther, whose course he tries
to arrest, eagerly grasping his neck with both his hands. This beautiful conception
was quite in the spirit of ancient art, and was expressed with great vigour of hand.
To Mr. T. Sharp, of London, for his marble figure, representing a Boy frightened
by a Lizard. This was a remarkable work—quite unlike in choice and treatment of
subject any we have as yet noticed. The artist did not hesitate to express that dryness
and meagreness of form which characterizes the particular stage of boyhood selected
for representation; but these details were executed with the utmost accuracy, and with
an admirable feeling for nature. The eye of the ordinary observer, habitually ac-
customed to the specious effect of mere smoothness of surface, may, in some degree,
be repelled by this truthfulness of representation; but, like all other truth, it will not
the less be ultimately appreciated, and we may regard this figure as in itself a proof how
great an effort the English school of sculpture is making in the right direction.
To M. E. Simonis, of Brussels, for his equestrian statue of Godfrey of Bouillon, sad
other works. A colossal figure of Godfrey of Bouillon on horseback, raising the
banner with which he led the crusaders to the Holy Land. Cast in plaster from the
original in bronze, which is placed in the Place Royale, at Brussels. In this work the
expression of the head is full of life and animation, the action very emphatic, the execu-
tion very careful. To compensate for the optical diminution which causes statues placed
in the open air to appear meagre and deficient in mass, the artist in this group exaggerated
the forms both of the warrior and the horse. This departure from nature was perhaps
carried too far. In his group representing Truth trampling on Falsehood, the same artist
showed power in the representation of delicate female forms, and the work was carefully
executed. Two figures of boys, one of whom is crying over his broken drum, prove
that M. Simonis has been successful in that class of subjects called "genre," and which
are altogether treated in a realistic manner.
To Signor G. Strazza, of Milan, for his reclining figure in marble, representing
Ishmael. We have already noticed this striking and admirable performance with due
praise. Perhaps the truthfulness with which the dying youth is represented, renders
the subject too painful a one for general approbation. In the treatment of this subject
by painters, an angel bringing help to Ishmael is always introduced, and from the
absence of this figure, the impression produced 'by the work of Signor Strazzi is
unrelieved by any mitigating circumstance.
To Mr. E. Thrupp, of London, for his statue of Arethusa, a recumbent figure,
gracefully enough designed, but rather deficient in life and individuality. A Boy
catching a Butterfly, was a very carefully executed and attractive work.
To M. J. Tuerlinckx, of Malines, for a figure in marble, representing the cele-
brated Giotto when a boy, looking at his first attempt at drawing, with an expression of
joyful surprise. The conception of this work was very spirited, and it was carefully
executed.
A prize medal was also conferred upon the representatives of the late Mr. L. "Watson,
of London, for his admirable portrait statue of the celebrated Flaxman, a noble per-
formance, which we have already sufficiently described. As also for the colossal figures
of Lord Eldon and Lord Stoweil, which showed how greatly this artist excelled in
Iconic sculpture.
We next turn our attention to M. Albert Wolpf, a native of Berlin, who also received
a prize medal for his group of a Young Maiden holding a Lamb in her arms. This
figure was entitled by the sculptor, Innocence, and its purity and simplicity of cha-
racter fully expressed such an idea. The drapery was throughout treated in a plastic
style, and the execution was exceedingly careful. M. Wolff, though a Prussian by birth,