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."

Schlueter also made a statue of the Elector Frederic III., which is now
in Koenigsberg. Besides his works in sculpture he was the architect of
the royal palaces at Potsdam, Charlottenburg, and Berlin, and there are
many sculptures by him at these places. When he was thus in an important
position and at the height of professional prosperity he met with a sad
misfortune, from the effects of which he never recovered. A chime of
bells had been purchased in Holland, and Schlueter was commissioned to
arrange an old tower for their reception. He carried it higher than it
had been, and was proceeding to finish it, when it threatened to fall,
and had to be pulled down. On account of this Schlueter was dismissed
from his position as court architect; and though his office of sculptor
was left to him his power was gone, and he was broken down in spirit. He
was called to St. Petersburg by Peter the Great, and died soon after.
Now, the verdict of judges is that he was one of the greatest artists of
his age, and that his works, both in sculpture and architecture, belong
to the noblest productions of his century.

CHAPTER IX.

CANOVA, THORWALDSEN, AND OTHER RECENT SCULPTORS.

In the middle of the eighteenth century the arts had fallen into such a
feeble state that a true artistic work--one conceived and executed in an
artist spirit--was not to be looked for. As in the Middle Ages, too,
thought seemed to be sleeping. Both art and letters were largely
prostrated to the service of those in high places; they were scarcely
used except for the pleasure or praise of men whose earthly power made
them to be feared, and because they were feared they were flattered
op