DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.1327#0101
\
dG pui£3i
AN ILLUSTRATED CYCLOPAEDIA OF THE.GREAT EXHIBITION OP 1851.
SCULPTURE.
THE AUSTRIAN SCULPTURE ROOM.
UfE intend in tho present article to devote our attention to some of tlie
works of sculpture by foreign artists exhibited in the Crystal Palace.
Although old Rome would of prescriptive courtesy claim our attention
first amongst the foreign contributors, ijhe mora numerous and varied
display presented iu the Austrian department must be our excuse for giving
the latter precedence ou
the present occasion. Tho
little chamber, with its
. to redms
allotted to the various
er-iray \lti
. nations owing allegiance
ng's valrs
to tho Imperial House of
Austria, for the exposi-
tion of their productions
rtiontofc
in sculpture, was cram-
f dirisioa
med fell of works of tho
>*>}*■*■>
highest finish, not in
plaster, but in marble,
k iii drop-
ercepfiWa
means of studying .the
ve taught
actual state and the pre-
icchauiol
vailing tendencies of the
achievements unworthy of art, and incongruities in composition which
sober judgment cannot reconcile either to the requirements of poetry
or of common sense; in short, many instances of art misdirected, and
marble misapplied, some of which it will be our duty to refer to mora
particularly as we go along, But, with all these drawbacks, there can
bo no question, that, viewed as a whole, the Austrian Exposition in
sculpture was one of the most creditable and interesting wo have over
seen brought together by contemporaneous artists.
Making our way through
the ante-room, we were
by no means favourably
impressed by a group oE
"Atala and Chactas," by
* Innocenzo Fraccaroli, of
Verona, which was a com-
mon-place affair enough.
This artist, we should
mention, had another
work of a much higher
■ deeply i
out the
isdeiisiei
■Villi.
......ofthehu-' •
pulses evinced by others
M their day, give a hint
W some of their examples
of working after the
models . of the more
•■uieient schools of Greece,
u'c predecessors of those
of Italy herself. Iuniany
eases there is much to
condemn; experimental
conceits, manipulative
So- T, November 15, 1851.
clas
si then
10),
'■ Achilles Wounded," tho
attitude of which was
in the
cwshis
SUSANNAH.—3Y A. GAIJJ.
whilst the oxprc
pain aud horror
face, as the hero ■,
wounded heel, is well
depicted. An attempt
at exhibiting tho more
essential feeling of which
the incident is susceptiblo
—tho full appreciation of
the evil omen attaching
to tho mishap, would
have heightened tho
. effect, aud given that
touch of historic poetry
to the character, of which
it js.uow deficient
To return to the ante-
room of tho Austrian Gal-
lery : on either side of tho
table wero two infant
aubjec ts, by Antonio Galli,
of Milan, aud Benedetto
Cacciatori, of Carrara.
- True, tho gilt ring or lialo
round tho head of tho
one implies that it is
intended for tho Infant
Christ, whilst tho other,
lying on a rocky surface,
is supposed to bo John
the -Baptist. But there
is little attempt at im-
pressing tho divine cha-
Pkice One Penny,
dG pui£3i
AN ILLUSTRATED CYCLOPAEDIA OF THE.GREAT EXHIBITION OP 1851.
SCULPTURE.
THE AUSTRIAN SCULPTURE ROOM.
UfE intend in tho present article to devote our attention to some of tlie
works of sculpture by foreign artists exhibited in the Crystal Palace.
Although old Rome would of prescriptive courtesy claim our attention
first amongst the foreign contributors, ijhe mora numerous and varied
display presented iu the Austrian department must be our excuse for giving
the latter precedence ou
the present occasion. Tho
little chamber, with its
. to redms
allotted to the various
er-iray \lti
. nations owing allegiance
ng's valrs
to tho Imperial House of
Austria, for the exposi-
tion of their productions
rtiontofc
in sculpture, was cram-
f dirisioa
med fell of works of tho
>*>}*■*■>
highest finish, not in
plaster, but in marble,
k iii drop-
ercepfiWa
means of studying .the
ve taught
actual state and the pre-
icchauiol
vailing tendencies of the
achievements unworthy of art, and incongruities in composition which
sober judgment cannot reconcile either to the requirements of poetry
or of common sense; in short, many instances of art misdirected, and
marble misapplied, some of which it will be our duty to refer to mora
particularly as we go along, But, with all these drawbacks, there can
bo no question, that, viewed as a whole, the Austrian Exposition in
sculpture was one of the most creditable and interesting wo have over
seen brought together by contemporaneous artists.
Making our way through
the ante-room, we were
by no means favourably
impressed by a group oE
"Atala and Chactas," by
* Innocenzo Fraccaroli, of
Verona, which was a com-
mon-place affair enough.
This artist, we should
mention, had another
work of a much higher
■ deeply i
out the
isdeiisiei
■Villi.
......ofthehu-' •
pulses evinced by others
M their day, give a hint
W some of their examples
of working after the
models . of the more
•■uieient schools of Greece,
u'c predecessors of those
of Italy herself. Iuniany
eases there is much to
condemn; experimental
conceits, manipulative
So- T, November 15, 1851.
clas
si then
10),
'■ Achilles Wounded," tho
attitude of which was
in the
cwshis
SUSANNAH.—3Y A. GAIJJ.
whilst the oxprc
pain aud horror
face, as the hero ■,
wounded heel, is well
depicted. An attempt
at exhibiting tho more
essential feeling of which
the incident is susceptiblo
—tho full appreciation of
the evil omen attaching
to tho mishap, would
have heightened tho
. effect, aud given that
touch of historic poetry
to the character, of which
it js.uow deficient
To return to the ante-
room of tho Austrian Gal-
lery : on either side of tho
table wero two infant
aubjec ts, by Antonio Galli,
of Milan, aud Benedetto
Cacciatori, of Carrara.
- True, tho gilt ring or lialo
round tho head of tho
one implies that it is
intended for tho Infant
Christ, whilst tho other,
lying on a rocky surface,
is supposed to bo John
the -Baptist. But there
is little attempt at im-
pressing tho divine cha-
Pkice One Penny,