DOI Page / Citation link:
https://doi.org/10.11588/diglit.1401#0119
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THE ILLUSTRATED EXHIBITOR.
71
In the first page of the present number will be found
the chef-tfceuvre of Professor Rietschel, of Dresden. It
represents the Dead Christ with the Virgin weeping above
him; and for purity of treatment, depth of feeling, and
power of expression, is equal to anything of the kind,
whether the production of foreigner or native. Rietschel
is one of the most promising artists of the German school,
and to him has been assigned the task of executing many
of the most notable national monuments of Saxony. He
is known throughout the continent of Europe as the artist
of the sculptural decorations of the Grand Theatre at
Dresden; and there is little doubt that his Dead Christ
will excite that attention among the artists and connoisseurs
of this country which its simple grandeur so fully deserves.
From France to England is no great distance, but in the
Crystal Palace they are situated in different hemispheres,
the Island being to the west of the equatorial transept and
the Republic to the east. Nevertheless, to the land of our
fathers we will bend our steps.
But on our way we pause to gaze once more on the
fine statues and other works of art around. The most
prominent figure is, as it should be, Mrs. Thorncy croft's
STATUE OF THE QUEEN,
of which wc have already spoken in terms of praise. It
has been said by some, that the Thorneycrofts, husband
and wife, have no originality and less fancy—an assertion
wc beg respectfully to deny: for who can look on this
equestrian statue—bold without offence, graceful without
affectation, and easy and natural in the position of both
horse and rider—withput acknowledging the genius of the
sculptor ? The visitor cannot mistake it for its less noble
companions at the other end of the transept.
On the subject of the Queen's appreciation of the Great
Exhibition, her kindness and condescension in visiting it
so frequently, and the good sense she has displayed in her
mode of examination, we have already spoken. Prose
"writers and poets—a blessing on all poets!—have been
eloquent on the interesting theme ; and one of the tuneful
tribe actually wrote an ode for the opening of the Crystal
Palace, two months before the ceremony took place ! Wc
take six lines from the poem, because they are both appro-
priate to the engraving above them, and good in them-
selves were no engraving there :—■
The Queen of Isles, like her of Ocean born,
Smiles peace and welcome on this happy morn.
" Nations ! forget war's horrors and alarms,
('Tis thus she speaks,) contend no more in arms!
In nobler arts contend, like those that thrive
Where wealth from industry my happy realms derive/'
Turn we to where, in the north transept, Legrew's
. capital statue draws around it a crowd of admirers. It is
\ called
w
N\
tlics'
nui^
so
the
rf1
,#i
^™
THE ILLUSTRATED EXHIBITOR.
71
In the first page of the present number will be found
the chef-tfceuvre of Professor Rietschel, of Dresden. It
represents the Dead Christ with the Virgin weeping above
him; and for purity of treatment, depth of feeling, and
power of expression, is equal to anything of the kind,
whether the production of foreigner or native. Rietschel
is one of the most promising artists of the German school,
and to him has been assigned the task of executing many
of the most notable national monuments of Saxony. He
is known throughout the continent of Europe as the artist
of the sculptural decorations of the Grand Theatre at
Dresden; and there is little doubt that his Dead Christ
will excite that attention among the artists and connoisseurs
of this country which its simple grandeur so fully deserves.
From France to England is no great distance, but in the
Crystal Palace they are situated in different hemispheres,
the Island being to the west of the equatorial transept and
the Republic to the east. Nevertheless, to the land of our
fathers we will bend our steps.
But on our way we pause to gaze once more on the
fine statues and other works of art around. The most
prominent figure is, as it should be, Mrs. Thorncy croft's
STATUE OF THE QUEEN,
of which wc have already spoken in terms of praise. It
has been said by some, that the Thorneycrofts, husband
and wife, have no originality and less fancy—an assertion
wc beg respectfully to deny: for who can look on this
equestrian statue—bold without offence, graceful without
affectation, and easy and natural in the position of both
horse and rider—withput acknowledging the genius of the
sculptor ? The visitor cannot mistake it for its less noble
companions at the other end of the transept.
On the subject of the Queen's appreciation of the Great
Exhibition, her kindness and condescension in visiting it
so frequently, and the good sense she has displayed in her
mode of examination, we have already spoken. Prose
"writers and poets—a blessing on all poets!—have been
eloquent on the interesting theme ; and one of the tuneful
tribe actually wrote an ode for the opening of the Crystal
Palace, two months before the ceremony took place ! Wc
take six lines from the poem, because they are both appro-
priate to the engraving above them, and good in them-
selves were no engraving there :—■
The Queen of Isles, like her of Ocean born,
Smiles peace and welcome on this happy morn.
" Nations ! forget war's horrors and alarms,
('Tis thus she speaks,) contend no more in arms!
In nobler arts contend, like those that thrive
Where wealth from industry my happy realms derive/'
Turn we to where, in the north transept, Legrew's
. capital statue draws around it a crowd of admirers. It is
\ called
w