DOI Page / Citation link:
https://doi.org/10.11588/diglit.1399#0227
PLATE 274.
THE GEAPPLEES,
BY J. P. MOLIN, STOCKHOLM.
TT is long since we have seen a group so boldly conceived, vigorously expressed, and finely
-*- modelled, as the subject given in our present illustration, by Professor Molin, of Stockholm.
It is notable also for the excellent manner in which it is combined with its pedestal, which is
ornamented with bas-reliefs relating to the story of the main group, and relieved by decoration
in the old Scandinavian style, in keeping with the whole design. The origin of this mortal
combat is given on one of the bas-reliefs, the subject being one which has been fruitful of
tragic results from the time of Cain downwards; viz., Jealousy. On the first bas-relief two men
are seen seated at table, and drinking out of those old-fashioned horns, such fine specimens
of which were to be seen in both the Danish and Swedish courts. A maiden pours out the
mead for the younger man, as she rests her arm upon his shoulder, whilst his companion looks
gloomy and angry at the preference thus shown to his comrade. In the next panel the ill-favoured
wooer clasps the frightened maiden round the waist; but she spurns him, at the same moment that
the youth, starting to his feet, grasps his knife. In the following panel he is seen, knife in hand,
challenging his rival to combat; the challenge is accepted, and now begins the strife a Voutrance,
which the sculptor has so ably represented in the large group of " The Grapplers." Bound
together, as was the old Norse custom, by a belt round their waists, each grasping the other's wrist,
their hands are powerless to strike the fatal blow, and the victory now will rest with the stronger
and heavier of the two. A glance at the two figures will serve at once to show which is the
most powerful: the younger man falls, and we see, on the last panel of the pedestal, the final
act in the tragedy, where the poor bereaved maiden is kneeling in tears before the rune-covered
tomb of her murdered lover.
To say nothing of the poetical sentiment and dramatic power displayed in this remarkable
composition, its artistic merits are of the highest order: action, expression, composition, know-
ledge of anatomy, and modelling, all bespeak feeling, knowledge, and power; and we have no
doubt that Professor Molin, who is yet in the prime of life, will leave behind him a name as
one of the greatest sculptors of modern Europe.
We have been favoured with some notes of the artist's life which may not prove uninteresting.
John Petter Molin was born in the thriving commercial town of Gothenburg, in Sweden,
in the year 1814; his father was engaged in trade, and intended his son for his own business.
Young Molin was sent into the country to study with a clergyman, where he had much liberty,
it would appear, and was permitted to rove about in the forests and pasture-lands, visiting
the country people, whose tales of fairies and other supernatural beings brought out the poetic
feelings of his nature. At about eighteen years of age, however, he was allowed to enter as a
student in the Royal Academy of Arts at Stockholm ; but economical reasons and family
changes called him, after only half a year's time, back to Gothenburg and trade. At the age of
twenty-one he commenced business on his own account, and continued at it for six years; but his
spirit was not fitted for the cares, anxieties, and labours of a business life, and he broke down
in body and mind. He now determined to sell his stock in trade, and having made up a small
fund in this manner, he went to Copenhagen, where he met with the great sculptor Thorwaldsen,
and regained sufficient health to benefit by his lessons. Unfortunately, within a year, Thorwaldsen
died; as did another teacher and friend,—Professor Christensen. Molin now determined to visit
Paris, and, after a short sojourn there, went to Rome, where he arrived in the year 1845, and
remained there eight years, studying by himself the noble specimens of antique art preserved in
the classic city, and living in daily intercourse with other Scandinavian artists and the remaining
pupils of Thorwaldsen. During this time he executed marble statues of three Amorini, " David,"
" Ingeborg," a "Bacchante," a colossal figure of King Oscar, and a "Young Shepherd." This last
was in the International Exhibition of 1851, and belongs to Mr. Hillman, of Gefle, in Sweden.
In 1853 his reputation was so high with his own countrymen, that he was appointed
professor in the Royal Academy of Art at Stockholm; since which period he has executed a
colossal statue of the Swedish statesman Tessin, for the new national museum in that city; and
several subjects in marble,—"A Neapolitan "Water-carrier," genii, busts, &c.; and, finally, the
model for "The Grapplers," which was admirably cast in zinc and bronzed; the subject of the
accompanying illustration.
THE GEAPPLEES,
BY J. P. MOLIN, STOCKHOLM.
TT is long since we have seen a group so boldly conceived, vigorously expressed, and finely
-*- modelled, as the subject given in our present illustration, by Professor Molin, of Stockholm.
It is notable also for the excellent manner in which it is combined with its pedestal, which is
ornamented with bas-reliefs relating to the story of the main group, and relieved by decoration
in the old Scandinavian style, in keeping with the whole design. The origin of this mortal
combat is given on one of the bas-reliefs, the subject being one which has been fruitful of
tragic results from the time of Cain downwards; viz., Jealousy. On the first bas-relief two men
are seen seated at table, and drinking out of those old-fashioned horns, such fine specimens
of which were to be seen in both the Danish and Swedish courts. A maiden pours out the
mead for the younger man, as she rests her arm upon his shoulder, whilst his companion looks
gloomy and angry at the preference thus shown to his comrade. In the next panel the ill-favoured
wooer clasps the frightened maiden round the waist; but she spurns him, at the same moment that
the youth, starting to his feet, grasps his knife. In the following panel he is seen, knife in hand,
challenging his rival to combat; the challenge is accepted, and now begins the strife a Voutrance,
which the sculptor has so ably represented in the large group of " The Grapplers." Bound
together, as was the old Norse custom, by a belt round their waists, each grasping the other's wrist,
their hands are powerless to strike the fatal blow, and the victory now will rest with the stronger
and heavier of the two. A glance at the two figures will serve at once to show which is the
most powerful: the younger man falls, and we see, on the last panel of the pedestal, the final
act in the tragedy, where the poor bereaved maiden is kneeling in tears before the rune-covered
tomb of her murdered lover.
To say nothing of the poetical sentiment and dramatic power displayed in this remarkable
composition, its artistic merits are of the highest order: action, expression, composition, know-
ledge of anatomy, and modelling, all bespeak feeling, knowledge, and power; and we have no
doubt that Professor Molin, who is yet in the prime of life, will leave behind him a name as
one of the greatest sculptors of modern Europe.
We have been favoured with some notes of the artist's life which may not prove uninteresting.
John Petter Molin was born in the thriving commercial town of Gothenburg, in Sweden,
in the year 1814; his father was engaged in trade, and intended his son for his own business.
Young Molin was sent into the country to study with a clergyman, where he had much liberty,
it would appear, and was permitted to rove about in the forests and pasture-lands, visiting
the country people, whose tales of fairies and other supernatural beings brought out the poetic
feelings of his nature. At about eighteen years of age, however, he was allowed to enter as a
student in the Royal Academy of Arts at Stockholm ; but economical reasons and family
changes called him, after only half a year's time, back to Gothenburg and trade. At the age of
twenty-one he commenced business on his own account, and continued at it for six years; but his
spirit was not fitted for the cares, anxieties, and labours of a business life, and he broke down
in body and mind. He now determined to sell his stock in trade, and having made up a small
fund in this manner, he went to Copenhagen, where he met with the great sculptor Thorwaldsen,
and regained sufficient health to benefit by his lessons. Unfortunately, within a year, Thorwaldsen
died; as did another teacher and friend,—Professor Christensen. Molin now determined to visit
Paris, and, after a short sojourn there, went to Rome, where he arrived in the year 1845, and
remained there eight years, studying by himself the noble specimens of antique art preserved in
the classic city, and living in daily intercourse with other Scandinavian artists and the remaining
pupils of Thorwaldsen. During this time he executed marble statues of three Amorini, " David,"
" Ingeborg," a "Bacchante," a colossal figure of King Oscar, and a "Young Shepherd." This last
was in the International Exhibition of 1851, and belongs to Mr. Hillman, of Gefle, in Sweden.
In 1853 his reputation was so high with his own countrymen, that he was appointed
professor in the Royal Academy of Art at Stockholm; since which period he has executed a
colossal statue of the Swedish statesman Tessin, for the new national museum in that city; and
several subjects in marble,—"A Neapolitan "Water-carrier," genii, busts, &c.; and, finally, the
model for "The Grapplers," which was admirably cast in zinc and bronzed; the subject of the
accompanying illustration.