ALBERT THORVALSDEN. (SEE PLATE.) THE fine head of the celebrated and truly great Danish sculptor, THORVALSDEN, which we present with this number, is taken from a portrait executed by the great French artist, Horace Vernet, during his residence at Rome, and presented by him to Thorvalsden, in whose possession it was at the time of his decease. It bears the inscription by the painter, "Horace Vernet à son illustre ami Thorvalsden, Rome, 1835." The memory of the gentle Thorvalsden is cherished by all lovers of Art. His long and honorable career, more than that of any other sculptor of modern times, approaches the ro mance of the best days of the antique. Among his friends he numbered more than one Pericles, and received the spontaneous homage of many nations; and yet he was not elated, being even toward the end of his life as accessible to the inquiring student as he had been at any antecedent period. The father of the subject of this notice was Gotskalk Thorvalsden, and the maiden name of his mother was Karen Grönlund. Albert Thorvalsden was born in 1770, and his early predilection for Art derived its origin from the occupation of his father, who supported his family by the execution of rough carvings in the dock THORVALSDEN'S MARY WITH THE INFANT SAVIOUR AND ST. JOHN. 258 ALBERT THORVALSDEN. yards of Copenhagen. "For the earliest information concerning his sons," says Mrs. Rowan, "we are indebted to some old ship-carpenters of Copenhagen, who related that they perfectly well remember him as a handsome fair-haired boy, coming to visit his father at the dock-yards, and that he was loved by all who saw him." The views of Gotskalk Thorvalsden with respect to the future career of his son did not extend beyond qualifying him to act as an assistant in his own trade; and it was with some difficulty that this determination was, by the earnest importunity of friends, commuted to the better purpose of conferring upon him an artistic education. His studies commenced at the Academy of Copenhagen in 1781, under the instruction of Hans Cleo, and after twelve months of preparatory application (an unusually short period), he was removed to the life class. Three years were devoted to the exclusive study of the human figure, after which, " for the first time, casts from the antique were placed before him," a course of study which seems to reverse the order of progress laid down in the existing schools of Europe. In 1786 he began to work in clay. The Academy was at this time under the direction of the Sculptor Wiedewelt, but it was to the Professor Abilgaard, under whose immediate instruction he prosecuted his studies, that he was indebted for an affectionate and active interest, which, operating upon his own intelligent assiduity, enabled him to gain the silver medal after an attendance of one year in this school. When discoursing of his student days, Thorvalsden dwelt with satisfaction upon one result of this triumph, which was the respectful prefix of Mr. to his name by his religious examiner, on having ascertained that he was the Thorvalsden who had distinguished himself in the Academy competitions. The suavity of disposition which distinguished Albert Thorvalsden was genuine. His temper was entirely independent of ease and prosperity, and was not less equable at the time when his studio at Rome was unvisited, than afterward, when none proceeded to the Eternal City without soliciting permission to see his works. With this winning amiability he was taciturn, grave, and devoted to his art, insomuch that nothing beyond its sphere could excite his interest. With the knowledge and executive power which he had acquired, he looked beyond the rude style of his father, but the latter, notwithstanding the prospect which his course of study at the Academy opened to him, was earnestly desirous of his return to the paternal atelier, and to this wish the young artist had determined to yield filial obedi ence; but the intercession of his master, the Professor Abilgaard, together with the entreaties of his fellow-students, obtained for him a division of his time, part being given to study, and the rest to his father's business, which, it will be believed, derived a new character from the co-operation of the son, who, while with his father, exercised individually, as circumstances demanded, every department of the education of a sculptor. He carved in stone as well as in wood, executed bas-reliefs and sketched portraits. There is extant a carved clock-case, a production of this period of his life; and among other works in stone in which he assisted his father may be mentioned the Royal Arms over the door of an apothecary's shop in Store Kjobmager street in Copenhagen, and the four lions in the circular area at the entrance of the gardens of the Royal palace of Fredericksberg, near that city. "The earliest work of Thorvalsden," says Mrs. Rowan, 66 now extant is, as far I have been able to ascertain, a small bas-relief executed by him in the year 1789, on the occasion of his participating in the competition for the large silver medal. This bas-relief, which gained the prize, represents a Cupid in an attitude of repose leaning on his right arm, and holding in his right hand his bow, while the left, which grasps an arrow, hangs carelessly by his side. The air and character of the head, and the disposition of the locks, which are parted on the brow, betray the influence exercised at this period on our artist's style by the precepts and example of Abilgaard. The whole composition must be considered as nothing more than a mere school exercise, the interest of which he endeavored to enhance by adding a bow and arrow and wings to the figure that served as his model. As the space to which we are limited denies us the pleasure of pursuing in detail the story of a life so interesting as that of Thorvalsden, we can only briefly speak of the most prominent incidents. In the Academy of Copenhagen he distinguished himself insomuch as to obtain the gratuity known in Academies as the allowance set apart for the "traveling students," and thereupon proceeded to Rome, the alma mater of the artist. It is very well known that his success in Italy discouraged him and disappointed his friends. The period of the duration of the traveling stipend expired, without having promoted his independent establishment in his profession. The period was extended until the year 1802, but this additional term also expired unprofitably, and he had determined to return home in the spring of that year, but subsequently deferred his depart ALBERT THORVALSDEN. 259 each succeeding year brought forth from his studio some precious example of that series of works by which he is immortalized. Henceforward the incident of the life of Thorvalsden was his works, and these one by one fell from his hands-brilliant creations-each shedding its unquenchable ray of glory on his name. As this article must extend to the succeeding number, we shall, in addition to the compositions by which it is illustrated, notice some of the greatest works of Thorvalsden, who has been equally felicitous in mythological and religious sculpture. A comparison of these classes determines at once whence the loftier aspiration arises. The severity and dignity of sacred subjects are most congenial to the grave character of sculpture. Thorvalsden's sepulchral monuments contribute not the least solid part of his reputation. These productions were very numerous, but in no instance has he disqualified the dignity of sculpture by individuality or questionable taste. And the allegory in all of these is so pointed, the narrative so perspicuous, that no descriptive legend is necessary. In some of Thorvalsden's bassi-rilievi, the figures have too much roundness, but this is a defect which he has remedied from observation of the Elgin Marbles, which are flatter than nature, in order to secure a greater breadth of light, with a view to the better definition of ob ure until the end of 1803, and recommenced his statue of Jason. He had already treated the subject in the year 1800; the figure was of the size of life, but not having the means of defraying the expense of casting the work in plaster, he destroyed the clay study. The second Jason was of extreme heroic dimensions, and this figure was rescued from the fate of the preceding only by the kindness of a lady, a country woman of the sculptor. Rich in reputation, but poor in substantial means, Thorvalsden now thought seriously of his return home. His little property was soon disposed in traveling order; his books and prints were already dispatched, and his own departure fixed for the following day, early in the morning of which the vetturino was at his door, and his luggage was fastened behind; but he was not yet to revisit Denmark. His proposed traveling companion was the sculptor Hayemann, of Berlin; and he, whose business it was to procure the passports, came to inform him that in consequence of some informality it was necessary that their departure should be postponed until the following day. But again an event occurred which opened a new prospect to Thorvalsdenhe was now about to commence the ascent which enabled him to develop his transcendent genius. On this day-which had otherwise certainly been the last of his residence in Rome, at least at that period of his life-the wealthy banker, Mr.jects removed from the eye. He was the greatThomas Hope, was conducted to his studio by a valet-de place. This visitor was immediately struck by the grandeur of the Jason, and at once inquired upon what terms the sculptor would execute it in marble. The sum named by Thorvalsden was six hundred zechins, but Mr. Hope observed, that as this was below the value of such a work, he proposed eight hundred zechins, and engaged to put the artist in a position to commence the statue without delay. The joy with which Thorvalsden accepted this proposal can be readily estimated. Rome had been the great haven of his hopes, but he had passed years there in disappointment, which, but for a conviction that he had yet duties before him, had become a settled despondency. This commission was to him the commencement of a new existence, and this change was the more grateful that it was so unexpected. And now commenced that long career which was more than ever illustrious, even at the ultimate term allotted to human life. Thorvalsden fixed his residence in Rome, passed, indeed, the greater portion of the remainder of his life there, and est modern master of basso rilievo; how great soever the excellences of his statues, they are yet surpassed by the learning displayed in low relief, confessedly the most difficult department of sculptural composition. To excel in any wise in sculpture is an enviable distinction, but a superiority in basso-rilievo is a transcendent pre-eminence. In the execution of round sculpture the artist is supported by the tangible type of the living form, but relieved composition deviates from the natural form in facto, the better to convey the appearance of truth-a paradox which is explained by comparison of two low relief compositions, the one modeled strictly according to natural proportion, and the other according to conventional principle. In the succeeding number will be especially noticed the works at Copenhagen, where he has left a magnificent legacy that forms the pride of the Danish capital; which legacy his admiring fellow-countrymen, with the respect due to the most exalted genius, have raised a temple wherein it may be enshrined for the gratification of the present and succeeding generations. |