Page:The New International Encyclopædia 1st ed. v. 17.djvu/694

SCEPTRE. 626 SCHADOW. li.Niii mibleni, such as ilic llcur-de-lis of France. Tlie sceptre of the Eiiylisli moimrch is cruciform ill ii[>|io;i ranee, and dates from the days of Charlus U. SC^ACK, shiik, AnoLF Friedhicii, Count (ISlo-SM). A German poet and critic, born near iSchwerin. He studied law ami entered the service of the Grand Duke of ilecklenburg. During a stay in Berlin Sehack perfected him- self in Sanskrit, Arabic, and Persian. More scholar than poet, Sehack was at liis best in his translations, especially the Spiniischcs Theater (1845), I'irdii.si (IStio), SIroiilteii des Omar Chi- jam (1S78), Orient mid Occident (18!)0|, and Engliselie Dramatiker (1803). His original verse includes (Icdichtc (1807), the romanci; Eben- hurtiy (1870). Siichle des Orients (1874), and Lustspielc (1801). As a critic his work was dis- tinctly excellent, his chief titles being (leschiehte der drdniiitischen IJltenttiir und Kunst in >S'/*</- nicH. (1845-5,5), I'oesie und Kunst der Araher in Spanicn und Hizilicn (1805. "id ed., 1877), and the historical works Die Xormannen in Sizilicn (1880) and Mazzini und die italienische Frei- heit (1801). Scliack's autobiography appeared in 1887 under the title Ein halhcs Jnhrhumlert (Stuttgart, 1804), his collected works in 1801 (2d ed). and his posthumous poetry, edited by Winkler, in 1800. Consult the sketches by Rogge (Berlin, 1883), Brenning (Bremen, 1885), and Berg (Frankfort, 1806). SCHADOW, shli'du, Feiedrich Wilhelm ( 17><!i-lS0J I . A Cierman historical and religious painter. He was the virtual founder of the old Diisseldorf school, born in Berlin, the son of the following, studied painting under Weitseh, and in 1810 proceeded to Rome, where he joined the Nazarites (see Pre-Raphaelites ) , and became a convert to Catholicism. His part in their joint frescoes in the Casa Bartholdi (now in the Na- tional Gallery. Berlin) was "Jacob with Joseph's Coat" and '"Joseph in Prison." These are the most important works of his Roman period, although his Madonnas and portraits show a greater technical skill, upon the basis of which he was called in 1810 to be professor in the Berlin Academy. His principal work at Berlin was a large Bacchanal," upon the ceiling of the Royal Theatre; but he also painted a number of Madon- nas and other religious subjects and "Poesy," one of his best easel pictures. His high success as a teacher was the cause of his appointment as director of the Diissel- dorf Academy. He entirely reorganized the in- struction there, and it was to his teaching that the success and productivity of the Diisseldorf Bchnol (q.v. ) was cliietly due. Unlike his prede- cessor Cornelius, he practiced oil painting, rather than fresco, placing greater weight upon color. He favored the historical and the religious pic- ture and was much opposed to the genre and landscape afterwards practiced by his pupils. His principal production during this period was "The Wise and the Foolish Virgins" ( 1837, Stildel Institute, Frankfort) ; among other re- ligious paintings are the "Four Flvangelists" (Werdersche Kirche, Berlin) and "Christ and His Disciples at Emmaus" (Xatioual Gallerv, ib.). In 1840 he went to Italy, whence he returned more austere in religion and uncompromising in advocating purely religious painting. His latest works include "Heavenly and Earthly Love," "Piety and Vanity in Their Relation to Religion," and allegorical representations of "Heaven," "Purgatory," and "Hell," after Dante. In 185!) he resigned the directorship of the academy. He died at Diisseldorf. As an author he is well known by his lecture, Ueber den Einfluss des Christentums auf die bildende Kunst (Diissel- dorf, 1843), and the biographical sketches, Der nioderne Vasari (Berlin, 1854). Consult Hiibner, Schadow und seine t^chule (Bonn. 1800), and the authorities referred to under Dlsseldorf School OF Paixtikg. SCHADOW, JoHANN Gottfried (17041850). An cinincnt German sculptor, wlio inaugurated a new epoch in plastic art, marked by the return to the simple truth of nature and to iiiiliciue models, after a period of uianneri>m. Born in Berlin, May 20, 1704, the son of a tailor, he be- came the pupil of Tassaert in 1770 and simul- taneously studied drawing at the Academy, Mar- ried in 1785, he went to Italy, and was power- fully impressed at Florence by the works of Gio- vanni da Bologna and ilichelangelo, yet more deeply still in Rome by the antique sculptures in the Vatican and the Capitol, which lie studicil with indefatigable zeal. Having worked tem- porarily in the studio of Trippel, he found tlie intercourse with Canova more instructive. In 1780 he won the first prize in the Concorso di Balestra, with the group in terra-cotta "Andro- meda Delivered by Perseus," and tipon his return to Berlin was elected a member and one of the four rectors of the Academy, and appointed Court sculptor, in 1788. Schadow's most important works date from the next two decades, and in their unpretending simplicit.y give the full im- pression of life and individual truth. Chronologi- cally, they include the "Hercules Slaying the Centaur Eurytion" (1780), on the Hercules Bridge ; the "Monument of Count von der Mark" (1780-91), in the Dorotheenstadt Church. A number of reliefs of antique subjects, in the vari- ous state rooms of the royal palace, lielong to the same period. Then followed the statue of "Frederick the Great" (1703) at Stettin, that of "Ziethen" (1794) and that of Prince Lenpiold of Anhalt-Dessau" (1800), both at Gross- I.ichterlelde (replicas in bronze. Wilhelms- jilatz, Berlin). For the Brandenburg gate he modeled the "Quadriga of Victory" (1780-94), the statue of "Mars" (1794), and the 16 metopes of the "Combat Between the Centaurs and Lapithic" (1704). Of his perfect success in rendering female grace and beauty, the exquisite group of "Crown Princess Louise and Her Sister" (1795-97, Royal Palace. Berlin) is sufficient proof. A splendid specimen of his treatment of the nude form is the life-size re- clining figure of a woman ( 1797) , long designated erroneously as the "Xymph Salmacis" by Thor- waldsen. Intimate characterization distinguishes a bronze group of "Frederick the Great with His Greyhounds" (1810), at Sans-Souci. Schadow concluded his monumental plastic work with the statues of "Bliicher" (1810). at Rostock, and "Luther" (1821), at Wittenberg, and his last ]iiece in marble was the statuette of a "Girl Re- posing" (1820), in the Xational Gallery, Berlin. Since 1702 he had also fashioned aliout a hundred portrait busts of the Ilohenzollern and other prominent personages, among them those for