to nature, and no
such affectations and mannerisms existed here as were seen in the works
of Bernini and his followers in Italy and France.

One 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. _