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A History of Art for Beginners and Students

One of the ablest sculptors of his day was ARTHUR QUELLINUS


of the ablest sculptors of his day was ARTHUR QUELLINUS, who was born at Antwerp in 1607. He studied under Duquesnoy, and was especially happy in his manner of imagining his subjects, and of avoiding the imitation of others or a commonplace treatment of his own. The magnificent Town Hall of Antwerp was commenced in 1648, and Quellinus received the commission to decorate it with plastic works. His sculptures are numerous, both on the interior and exterior of the edifice. In the two pediments he introduced allegorical representations of the power of the city of Antwerp, especially in her commerce. These compositions are picturesque in their arrangement, but the treatment is such as belongs to sculpture; in one of these a figure which represents the city is enthroned like a queen, and is surrounded by fantastic sea-gods, who offer their homage to her. (Fig. 112.)

[Illustration: FIG. 112.--CARYATIDE. _Quellinus._]

We cannot give a list of many detached works by Quellinus, but one of the best of the old monuments in Berlin is attributed to him. It is the tomb of Count Sparr in the Marienkirche.

At the present day Berlin is a city of much artistic importance, and the beginning of its present architectural and sculptural prominence may be dated at about the end of the seventeenth century, not quite two hundred years ago. One of the most influential artists of that time was ANDREAS

SCHLUeTER (1662-1714), who was born in Hamburg. His father was a sculptor of no prominence, but he took his son with him to Dantzig, where many Netherlandish artists were employed upon the buildings being constructed there. Andreas Schlueter was naturally gifted, and he devoted himself to the study of both architecture and sculpture, at home and later in Italy. Before he was thirty years old he was employed in important affairs in Warsaw, and in 1694 he was summoned to Berlin, where he executed the plastic ornaments of the Arsenal; the heads of the Dying Warriors above the windows in the court-yard are remarkable works. They are very fine when regarded only as excellent examples of good sculpture, and they are very effective placed as they are, for they seem to tell the whole tragic story of what a soldier's life and fate must often be (Fig. 113).

[Illustration: FIG. 113.--HEADS OF DYING WARRIORS. _By Schlueter._]

[Illustration: FIG. 114.--THE GREAT ELECTOR. _By Schlueter._]

However, the masterpiece of this sculptor is the equestrian statue of the Great Elector for the long bridge at Berlin, which was completed in 1703 (Fig. 114). Luebke says of this: "Although biassed as regards form by the age which prescribed the Roman costume to ideal portraits of this kind, the horseman on his mighty charger is conceived with so much energy, he is filled with such power of will, he is so noble in bearing and so steady in his course, that no other equestrian statue can be compared with this in fiery majesty. Equally masterly is the arrangement of the whole, especially the four chained slaves on the base, in whom we gladly pardon a certain crowding of movements and forms."

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