The Italian sketch book :: :: University of Virginia Library

At the studio of Thorwaldsen there is much to
interest and gratify the visitor, whether the intrinsic
and individual merit or the remarkable number
of his works be considered. The sunny face of the
shepherd boy, as he sits contemplatively with his
dog beside him, is truly inimitable; as are the Three
Graces, and Mercury in the act of taking advantage
of the sleep into which his music has lulled Argus.
Of all unclassical specimens of sculpture, the figure
of Lord Byron in a surtout and heavy shoes, with a
pencil in hand, with which he presses his lip meditatively,
here seen, is the most singular. The birthplace
of this distinguished artist is not certainly
known. His earliest recollection of himself is that
of being on board a ship in the capacity of cabin-boy.
His origin is, however, undoubtedly northern,
and most probably Icelandic. After surmounting
many difficulties, and attaining some rank in his
art, he visited Iceland. To this island, it is said, he
purposes bequeathing the greater part of his collections
and property. Some of his greatest works
have been executed for the northern nations; and

collossal statues of our Saviour and the twelve apostles
are now in progress for a church in Russia.

There is a work at present, only dead-coloured,
upon the easel of Overbeck, which, if completed in
the same noble manner that marks its conception,
will indeed prove glorious. It is called the Christian
Parnassus, representing the fine arts in the persons
of the great artists; and the groups ascending,
at length terminate in the figures of the Saviour and
Madonna. The likenesses, even in this early
sketch, are beautiful, and easily recognised; and the
gracefulness and vigour of delineation, with which
ninety-two forms are pictured on a comparatively
small canvass, indicates the genius of the artist. I
also remarked a very expressive and almost finished
painting, by the same hand—our Saviour at prayer
in the Garden. The impassioned, yet calm spirit of
earnest devotion, radiated from the wrapt countenances
of the kneeling form, is finely contrasted
with the angry and expectant glances of the distant
crowd pressing on through the still obscurity, to
seize upon their victim.