Evening star. [volume] (Washington, D.C.) 1854-1972, 1883-10-13

mores widow. Mary Bold, her former maid,
to-day testified before Surrogate Ferris as fol-
lows: When visitors called she would talk about
them, and after they had gone away she would
become excited, slam the doors. and scream
After these fits she would tell witness not to say
anything about them. Once in the dining room
she threw the cover of sugar bowl at witness
head because she did not uncover it quick
enough to suit her. While under the doctors
care. and taking baths, she said that witness
was trying to drown her. She would scream
loud enough to be heard in the street.
----->~>--
Schilling's Sculptures.
From the Providence Journal
The completion of the grand monument upon
the Niederwald will add to the fame Of the tai
ented sculptor, already so great and so well
earned. In modern plastic art there is nothing.
finer than the works Of Johann Schilljng; they
have something Of the simplicity and beauty of
antique art, combined with a spontaneous feel
ing which commands both the admiration and
the sympathy Of the spectator. Among his most
beautiful works, and certainly among the
most beautiful creations Of modern sculp-
ture, are his groups Of Morning, Noon,
Evening and Night, upon the Bruhl Ter
race In Dresden. This favorite promenade,
overlooking the Elbe, is approached py a
broad and lofty flight of steps, at the four
corners of which are Schilling's exquisite groups
in sandstone. Morning is represented by lovely
female figure her uplifted face wearing an ex-
preston of serene hope. and her forehead
crowned with star. Beside her are two child
ish figures, the smaller one looking upward with
an expression of gentle wonder. while she adj
iusts her sandal with one hand; the other. q
taller maiden with dreamy look, bears slen-
der vase. Noon is q figure Of graceful man
hood-bearing little resemblance to the Apollo
Belvidere, but with more character in the face
and less affectation in the attitude-hold-
a clnStpr frn IF
various kinds, and with the other holding high
wreath OF laurel; at one side youth is
holding spade upon which one foot rests; at
the other side is slender youth with an eager
race. reaching upward to grasp the laurel wreath.
A mature masculine figure is the central one of
the third group; at his side are two young maid
ems with musical instruments. His strong limbs
are at rest; love and melody bring their Offer
ings to him, but curious, Investigating look
mars the repose Of his face as he gaZes intently
into the mysterious cup which he holds in his
hand. Night is seated female figure, draped
from head to foot her head dropping as if in
sleep; resting against her knee is the figure of
boy. his beautiful limbs relaxed in slumber
while Night draws her mantle protectingly
around him. At the other side is q charming
winged figure bending towards the sleeper, as
if inspiring his dreams. This group is perhaps
the finest Of all.
In Hamburg on the Espanade, near the Bin
men Alster, is fine recent work by Prof. Schil-
ling, the city's memorial to her soldiers who fell
in the war of 18T,1 With rare taste and
judgment he has placed it upon a low, broad
pedestal In shallow basin edged with granite
and filed with mass Of evergreen ivy. The
general practice Of placing sculpture SO high
that the sentiment is lost is certainly unaccount-
able. The pedestal Of the Hamburg monument
is an irregular heXagOn with three broad and
three narrow faces; upon the narrow ones are
inscribed the names and dates Of the battles of
Paris, Loigny, LIE Mans and Others upon two of
the broad faces are carved the names of the
fallen soldiers, and upon the third is the nscrip
ton: ITO her brave sons, grateful VdterstdG
lSO.1S7l." How pleasant, in such a connec-
ton is the word Vdte7stddt-we have no equiv
alent for it in our language. Above the inscrip-
ton wreath OF laurel, exquisitely carved, sur
rounds the pedestal. The group comprises
figures of three dying soldiers. representing the
infantry, the cavalry and the artillery 1t is not
confused, but so skilfully are the figures dis
posed that each of the three fronts of the
monument seems to present distinct group.
The infantry soldier has fallen, gun in hand. and
the artillery man still grasps broken gum
against his breast while the other holds his
sword, and his wounded horse has fallen
beneath him. An angel Of most tender
aspect supports the head of one dying man,
while she holds laurel wreath above that of
another, and lays the martyrs palm upon the
breast of the third. 1t is very touching in its
reality, and over the whole is a spiritual charm
which divests it of all that is harsh and revolt
ing. There is something very pathetic in the
aspect of the dying horse, giving up his life
with that of his master. The head is wonderful
In expression, not the overstrained attempt
to render it human that We sometimes see
In sculptured or painted animals, but indi-
eating simply and perfectly the going out of
that spark of intelligence which we deem it
not sacrilege to believe has its place in the
economy of the Infinite. The German war
rior loves his horse, and why should he not 2
This nOblest Of animals is mans chief ally in
war. acting IN answering obedience to q higher
intelligence. 1t was a touching incident which
occurred at the taking of Vionville by the
Prussans in the summer of 1870. After the
terrible day of slaughter. when the evening call
of the first regiment Of Dragons Of the Guard
sounded. over six hundred riderless horses, some
OF them MANNED and bleeding, answered to the |
summons Though his faithful life be counted
small among the sacrifices Of war. it seems not
uniting that q soldiers memorial should in |
some way. include the war horse. It might well |
take the place of some of the meaningless SYM
bolical figures which are supposed to render inn |
pressive the typical soldiers monument.
Prof. Schilling was one of the sculptOrs who |
assisted in the execution of the magnificent |
Luther monument. designed by Rietschel, which |
adOrns the Luther-PlatZ in the city Of Worms. |
In single figures he does not SO greatly excel; |
his real power as artist is only exhibited in |
his more elaborate designs.