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RICHTER. 137 RICHTER. papers of the party. He wrote: Politischcs ADC Buck (187!t-08) : Die Inkhren dcr SoziahUmo- kratie (1890): SoziaUlemohralischc Zukunfts- aider (1891; in English, 1892); Jugcndcrinne- rungcii (1892); and hn alten Reichstag, Erin- neruiigen (1894). RICHTER, GusTAV (1823-84). A distin- j;uishc(l Gurnian figure and portrait painter, horn in Berlin. He began his studies at the academy there under Eduard Holbein, then was a jiupil of Cogniet in Paris, and studied in Rome until 1849. The brilliant teelinieal qualities of liis "Raising of Jairis's Daugliter" (ISoU, National Gallei'y. Berlin ) . ])ainted by commission of King Frederick William IV., aroused great enthusi- asm on its exhibition, but this and a large oil painting of the "Building of the Pyramids 11859-72. Maximilianeum, ilunieh). ordered by the King of Bavaria, suffer from theatrical pathos, and, recognizing the limitations of his talent, Richter confined himself thereafter to the depiction of single figures, and to portrait- ure, in which he was eminently successful. The first of a series of portraits of aristocratic beauties was that of "Princess Carolath," which created a sensation in 1872. Of several family groups, reflecting the artist's own domestic happiness, two called "Evviva!", the painter with his first-born, and "JIaternal Hap- piness," the painter's wife (youngest daughter of Meyerbeer) with their younger boy, were among the gems of the exhibition in 1874. From the last decade of his life dat* his maturest works, in which lie combined a thorough charac- terization with the purely pictorial qualities. The splendid portrait of a "Banker's Wife" (1876) was followed by that of "Countess Kfirolyi" (1878), which distanced all his former elTorts. but was surpassed in its turn by the well-known ideal portrait of "Queen Louise" (1879. Cologne Museum). Mention should be made also of the portraits of "Emperor William I." (1876 and 1877). "Empress Ausrusta" (1878), and "General Count von Blumenthal" (1883, unfinished. National Gallery. Berlin). The ^letropolitan Museiini, New York, contains a figure of "Victory." RICHTER, Hans (1843—). An Austrian musical conductor, born in Raab, Hungary, where his father was kapellmeister. In 1853 he became a chorister in the Court Chapel at Vienna, and began his musical studies at the Conservatnr'. From the year 1806 dated his in- timacy with Wagner, who in 18G8 secured him the appointment of chorus-master at the Munich Opera. Two years later he conducted Lohen(jrin at Brussels, and from 1871 to 1875 served as ka- pellmeister at the Budapest National Theatre. He conducted the concerts of the Vienna Gesell- echaft der Musikfreunde for several seasons, gave many important concerts, and in 1876. alternate- ly with Wagner, conducted the Xihelinigen per- formances at Bayreuth. In 1877 he commenced the annual Richter Concerts, in London, which were among the most important musical events of the coimtry. He was chosen in 1877 as the chief conductor of the Bayreuth Festival. He conducted also the Lower Rhenish festivals, and most of the important English festivals. RICHTER, .ToHANN Paul Friedrich. usually called by the name he chose himself, Jean Paul (1703-1825). The most widely known of German humorist.s. He was born at unsiedel, a vilhigc in Upper Franconiii. In 177!) he liegan to attend the gjinnasiimi at Hof. .Soon his father died, leav- ing liis wife and .Jean Paul to be cared for by .lean Paul's grandparents at Hof. On their death the mother and son were penniless, and had to make what shift they eoiilil while .lean Paul studied at the gjinnasium. In 1781 he went to Lei])zig to study theology, but lie Hoon fell under the influence of Rousseau nnd of Englisli humorists and satirists. He bad earlier begun to make a collection of jests and anecdotes. Finding no o]iening as a teach- er, he turned to literature. The Eiwomiitm Moriw of Erasmus set liim to writing his l.nb dcr Dummhcit. Init his book found no publi>lier till after his death. In his anonymously published tlronlundische Frozesse (1783) he satirized au- thors, women, theologians, ancestral pride, etc., but his satire fell rather flat. Poverty soon drove him to flee from Leipzig to avoid his creditors ( 1784) . The next three years ( 1784-87 ) he spent in reading, hack writing, and desultory rambling. Then some parents were induced to trust liim with the education of their children, and for nine years he practiced his original pedagogic theories, writ- ing the while some clever satires. Ausuahl mis dcs Teufcls I'ui)iercii (1789) ; FMbrls Reise (179(1) ; the more famous idylls Sehulmeintcr Wiiz ( 1793), and Qiiiiitus Fijclcin (1796) ; translated by Car- lyle, 1827), and the novels. Die uiisichlburc Loge (1793), and Hesperus (1794, trans. 1865). lies- prrus attracted the attention of Charlotte von Kalb. who. in 1790. invited Ricliter to Weimar, where Goethe received him with cool pcditriiess. as did yehiller at neighboring .Jena, his inllucnee being contrary to their own aspirations for a classical Cierman literature. Herder's welcome was warm, and Cliarlotte von Kalb tendered her heart with her hand, Weimar society being in those days still 'imperfectly monogamous.' In the first flush of his good fortune Richter wrote Blumen-, Fnielit- uiul Donimstiieke, odtr Ehestaiid. Tod laid Hochzeit dcs .{rmcnddroh-iiti-n Siebenkas (1796-97, trans. 1844, 1871. 1877) ; and Das Kampanrrthal (1797), wearisome relh'etions on immortality. He fascinated the Weimar ladies with his conversation, and more still by his sympathetic listening smile. He returned to Hof in 1797. only to take wing for a longer flight to Weimar, Leipzig, and Berlin, where he married Caroline Mayer (1801). After three years of wedded wandering he settled in Bayreutli. Here he pas.sed the rest of his life, twenty-one years, in harmless eccentricity. The rather futile novel Titan (1801-03) had already appeared. The first fniit of Bayreutli was the uneven and unfinished Fkgeljahre (1804-05), showing the influence of Goethe's ^yUhelm Meister, with pa.ssages of charming description, humorous satire, nnd deli- cate fancv that suggest Laurence Sterne. This is Richter's'last work of pure imagination that one is not L'lad to forgive and forget. But in his Inst years lie made valuable contributions to pcdagogj- "in Lerana (1807), to art in his Vorschiile drr Aesthetik (1804), and to polities in his Dowi- merungen fiir Deutschland (1809), and Fasten- predigten (1810-12), continued with redoubled scorn in 1817. Lerana, though disconnected and nnfinislied. was full of fruitful suggestion, espe- ciallv in its portions dealing with the education of women. Goethe praised it warnil^v for "the