Full text: Zeitungsausschnitte über Allg. Kunstgeschichte

© Hessisches Staatsarchiv Marburg, Best. 340 Grimm Nr. Z 47 
It is doubtful if there is anywliere a finer group os out-of-door 
statuary than that possessed by the city of Baltimore in one of the 
four public squares whicli adjoin its Washington Monument. 
Engravings were given in the Weekly of January 24 of the four de 
signs of “ Peace,” 
“War,” “Strength,” 
and “Order”—repro 
ductions of the mod- 
els which the great 
sculptor Antoine 
Louis Barye made 
for the exterior déc 
oration of the Lou 
It was of these 
noble créations that 
a great artist made 
this mémorandum in 
his note - book : “ I 
went yesterday to 
the Louvre, and 
climbed the scaffold 
to see the Barye 
groups, which are 
just being finished. 
Nothing save Nature 
herseif could have 
so moved me. They 
positively made me 
tremble. As I eame 
in front of the 
‘War’ the sun was 
setting, and its gold 
en rays feil oblique- 
ly upon the group, 
and illumined the 
head of the warrior. 
I continually see the 
powerful movement 
of his arm seeking 
thehiltof hissword. 
I continue to hear 
the trumpet - blast 
of the child and 
the neighing of the 
steed. In front of 
the first group I had 
met a single figure. 
It was that of Guil 
laume, the sculptor 
of the ‘ Gracchi,’ 
and he stood with 
bowed head, com- 
pletely absorbed in 
its contemplation.” 
The four groups, 
admirably repro- 
duced in bronze by 
Barbedienne, are 
mounted upon plain 
granité pedestajs, 
which stand ttpon 
the trim grass-plots 
on either side of 
the square. In the 
centre is a circular 
basin inclosing a 
fountain which is 
an exact reproduc 
tion of one that all 
visitors to Paris 
have admired in the 
Avenue des Champs 
Elysées — a bunch 
of cat-tail reeds and 
leaves of aquatic 
plants—a very sim 
ple and graceful 
fountain, and one 
which, thanks to 
the wonderful water 
supply that Balti 
more enjoys, maju 
almost always be 
Seen discharging its 
proper function, in- 
stead of restin g in 
desiccated decay, 
like those of New 
York. At the ends 
of this little square 
—the most beautiful 
and the most rieh ly 
endo w cd in our 
country — are two 
other remarkable 
sculptures, making 
^the whole group to 
^onsist of six pièces, 
âne, the great lion 
’jiich Barye made 
1847 for the 
Tuileries, his mas- 
terpiece, and the 
most majestic piece 
of sculpture that 
has been achieved 
si nee Michael An- 
gelo lived, has been 
a! ready described in 
these columns. The 
other, which has 
just been added to 
complote the group, 
is the work of Paul 
Dubois, the first of 
living French sculp- 
tors, and an engrav- 
!»g of it is given on 
this page. 
Dubois was born 
1829, and in the last twenty-two years he Kss taken every honor 
vfhUh it has been in the power of his country Yo confer. All of 
Vbr» tbdals and distinctions have fallen to him one"by one, his last 
decbwym having been a membership in the InstituTisöf 4ra»ee^ 
to " ■’.J.'C was elected in 1876. He is now alt, st equally dis- 
h portrait painter, and many people have failed to 
identify the Paul Dubois who has figu -ed for the last five years as 
the most sueeessful exhibitor in portraiture in the Salon with the 
Paul Dubois who made the “St. Jean” of the Luxembourg, the 
“Narcissus” which captivated Théophile Gautier, and the noble 
designs of “ Prayer,” “ Charity,” and r Military Courage” for the 
Lamoricière monument at Nantes. 
It is a reproduction in bronze by Barbku t 
which Mr. William T. Wal 
a little large,- than lise, is that of a youiTL 
inclinod in the aspect of thoughtful repH 
verted upon his knee, the other resting upoiH 
VOLUME XXIX., NO. 1491. 
sword. A leathern garment eovers the torso, and leathern buskins 
fit closely the feet and ankles, while upon the head is worn a 
graceful casque of the Renaissance. The impression which it 
conveys is that of some mythical, humanly personified élément of 
strife, ideal, spiritualized, and subdued in treatment, and very 
beautiful in its whole conception. In all of its purely physical at- 
tributes it is most 
signifikant and Com 
plété, and there is 
an ever-present in 
timation as ,to how 
this young warrior 
could, were he so 
minded, rise up and 
lay about him. It 
reminds one strong- 
ly of the well-known 
meditative figure of 
the tomb of the Me 
dici, and may have 
been in some de- 
gree inspired by it; 
but that will detract 
in nothing from it, 
unless it be a crime 
to do a thing so well 
that it recallß Mi 
chael ANGELD. 
There is, porhaps, 
not in our time an- 
other sculptor than 
Dubois of whose 
work any example 
is worthy to stand 
with that of Barye. 
Ilis “ Military Cour 
age” is perfectly in 
its place in this 
group ; and the 
whole, for its beauty 
and interest, and for 
its inestimable value 
from the point of 
view of its instruct 
ive influence, is a 
possession that Bal 
timore may well be 
proud of. With all 
her treasure of 
modern sculpture, 
France has nothing 
quite as fine in it- 
self as this Balti 
more group. The 
venerable Barbedi- 
enne, first of all 
bronzefounders and 
French artists in 
métal, and a patron 
of the fine arts un- 
rivalled in his intel 
ligence and liberali- 
ty, has taken the 
deepest interest in 
it. He speaks of it 
as the neblest mon 
ument that there is 
to the memory of 
his friend Barye, 
and he déplorés the 
fact that nowhere 
in France is there 
any such opportuni- 
ty to study and be- 
come acquainted 
with the gen ins of 
France’s greatest 
sculptor as exists in 
far-off Baltimore. 
There are many 
admirers of Barye 
in America, and 
many students of 
art visit Baltimore 
to see the groups 
in Mount Vernon 
Place. They will 
be interested in 
learning of the late 
additions to the 
Barye Gallery in the 
Walters Museum of 
the Fine Arts, as 
the different collec 
tions in Mr. Wal 
ters's house may 
now fairly be terra- 
ed. First in import 
ance of these is the 
“ Kilver Lion,” a re 
production upon a 
grander scale of the 
celebrated “ Lion 
qui Marche.” It 
was a commission 
from the city of 
Paris for a trophy 
for the Grand Prix 
of 1865, and is per- 
haps as fine a piece 
of work as anything 
that Barye ever did. 
Next to it must be 
accounted the “ Bull 
Hunt,” one of the 
four unique designs 
exe'cuted for the 
Duke of Orleans, a 
most dramatic and 
PAUL DUBOIS. wonderful composi 
tion of exquisite 
workmanship. To 
these must be added 
two candélabra in bronze, of singularly beautiful design—three 
perfectly classical figures sustaining an ornate column surmounted 
by the three Grâces. Nothing finer of its kind can be imagined 
than this work, and it was Barye’s own spécial treasure, and only 
recently passed from his widow to Mr. Waltrrs’s possession. 
W. M. L.

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