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 274 Sculpture in the Nineteenth Century. that at Lucerne (1821), with the famous Dying Lion, the symbol of fidelity in death ; the bronze equestrian statue of Maximilian I. at Munich, and the Schiller monument at Stuttgart. Johann Heinrich von Dannecker (1758 — 1841), of Stutt- gart, another great sculptor, excelled in portrait-statues, and was also very successful in his treatment of female figures. His busts of Schiller, Lavater, Gluck, and Kings Frederick and William of Wurtemberg, are very valuable likenesses. His group, Ariadne on the Panther, in a private collection at Frankfort — copies of which abound everywhere — is his most famous work. Towards the close of his life he produced many fine ideal statues, of which his Christ, John the Baptist, and Faith, are the best. Gottfried Schadow (1764 — 1850), of Berlin, was one of the first to return to the realistic style which prevailed in the best period of the Renaissance. His monuments of Count von der Mark, in the Dorotheakirche, at Berlin, and his statue of Frederick the Great, at Stettin, are among his best works. His sons Rudolph (1786—1822) and Wilhelm (1789 — 1862) were also sculptors of note. Christian Rauch, also of Berlin (1777 — 1857), who founded an important school, was one of Schadow' s greatest followers. He adopted the realistic style com- bined with the antique, in the manner of the best masters of the Renaissance. In his portrait-statues the happy working of this double influence is especially noticeable ; we have a faithful but idealised likeness, in which all the best characteristics of the subject are brought out. His statues of Biilow and Scharnhorst, of Luther, Albrecht Diirer, Schiller, Goethe, Schleiermacher, Queen Louisa, etc., erected in various towns of Germany, are instances of