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Rh which was ordered by Duke Albrecht of Saxony, in 1805, at the price of 20,000 ducats; and the Theseus group, bought by the emperor Francis, in Rome, which is now in the Vienna Museum. Canova’s pupil, Pompeo Marchesi, was the author of the emperor Francis monument, unveiled in 1846, in the inner court of the Hofburg.

The first national sculptor of note was the Tirolese Franz Zauner (1746–1822), who was knighted in 1807 (the year in which his Kaiser-Joseph monument was unveiled) and became director of the Vienna gallery and academy. Among his works are the tomb of Leopold II. in the Augustinerkirche; the tomb of General Laudon at Hadersdorf; the tomb of the poet Heinrich von Collin in the Karlskirche in Vienna; and a number of busts in the Empire style, which are by no means remarkable as expressions of artistic individuality. Leopold Kiesling (1770–1827), another Tirolese, Whose first work on a large scale is the Mars, Venus and Cupid, in the Imperial gallery, was sent by his patron, Count Cobenzl, to Rome, where he was more attracted by Canova than by the antique or the late Renaissance. Joseph Klieber (1773–1850), also Tirolese, enjoyed the protection of Prince Johann Liechtenstein, who employed him in the plastic decoration of his town residence and country seats. His reputation as sculptor of colossal figures for imperial triumphal arches and lofty tombs was so widespread that he was given the commission for the catafalque of Louis XVIII. in Paris. Many middle-class houses of the Empire period in Vienna were decorated by him with reliefs of children. The elaborate relief figures on the Andreas Hofer monument in Innsbruck are the work of his hand. His followers were less favoured by powerful protection and were forced into a definite direction: among them must be mentioned Johann Martin Fischer (1740–1820), who succeeded Zauner as head of the academy. His best-known work is “The Muscle-man,” which still serves as model to students.

Of the greatest importance for the development of Austrian sculpture in the second half of the 19th century was the influence of Joseph Daniel Boehm (1794–1865), director of the academy of coin-engravers, and discriminating collector of art treasures. He was the father of Sir Joseph Edgar Boehm, R.A. Emanuel von Max (1810–1900), who in conjunction with his brother Joseph modelled the Radetzky monument in Prague, wrote in his autobiography, concerning the year 1833 in Vienna: “Art, particularly sculpture, was at the lowest ebb. The appearance of a statuette or bust at an exhibition was considered an event.” But a strong movement began towards the end of the ’fifties. Professor Franz Bauer, of the Vienna academy (1797–1872), exercised a most stimulating influence upon the rising generation. Among the earlier artists, whose life overlaps into the new era, were Anton Dietrich (1799–1872), who is best known by “The Three Magi,” on the porch of the church of St John, and by a very beautiful ivory crucifix; and Johann Preleuthner (b. 1810).

At the beginning of the 19th century the art of sculpture was practically dead in Spain—or at least was mainly confined to the mechanical production of images of saints. But towards the middle of the century the two brothers Agapito and Venancio Vallmitjana, of Barcelona, encouraged by the enthusiasm with which some of

their works had been received by local connoisseurs, took part