of the grand duke of Oldenburg, whom he accompanied on a journey to the East. On his return he entered the Oldenburg government service, and in #1849 was sent as envoy to Berlin. In 1852 he retired from his diplomatic post, resided for a while on his estates in Mecklenburg and then travelled in Spain, where he studied Moorish history. In 1855, he settled at Munich, where he was made member of the academy of sciences, and here collected a splendid gallery of pictures, containing masterpieces of Genelli, Feuerbach, Schwind, Bucklin, Lenbach, &c., and which, though bequeathed by him to the Emperor William II., still remains at Munich and is one of the noted galleries in that city. He died at Rome on the 14th of April 1894. Schack was a most productive author; he wrote lyric poems (Gedichte, 1867, 6th ed. 1888); novelsin verse, Durch alle Weller (1870, 3rd ed. 1875) and Ebenburtig (18 6); the dramatic poem Helidor (1878); the tragedies Die Pisaner &872) and Walpurga and Def Johanniter (1887); and the political comedies, Der Kaiserbole and Canaan (1873). As an historian of literature' and art, he published Geschichte der dramatischen Literatur und Kunst in Spanien (3 vols. 1845-1846, 2nd ed. 1854), Poesie und Kunst der Araber in Spanien und Sicilien (1865, 2nd ed. 1877), which are valuable contributions to literary history. He also produced some excellent translations, e.g. Spanisches Theater (1845); fieldensagen des Firdusi (1851) and Stimmen vom Ganges (1857, 2nd ed. 1877). He also compiled the catalogue and history of his own picture gallery, Meine Gemdldesammlung (7th ed., 1894). His collected works, Gesammelte Werke, were published in six volumes (1883, 3rd ed. in IO vols. 1897-1899). Nachgelassene Dichtungen were edited by G. Winkler (1896). See his autobiography, Ein halbes Jahrhunzlert, Erinnerungen und Aufzeichnungen (3 vols. 1887, 3rd ed. 1894). Cf. further the accounts of Schack by F. W. Rogge (1883)» E. Zabel (1885). E. Brenning (1885), W. j. Mannsen (from the Dutch, 1889), and also L. Berg, Zwischen zwei Jahrhunderten (1896).
SCHADOW, a distinguished name in the annals of German
art.
I. Johann Gottfried Schadow (1764–1850), sculptor, was born and died in Berlin, where his father was a poor tailor. His first teacher was an inferior sculptor, Tassaert, patronized by Frederick the Great; the master offered his daughter in marriage, but the pupil preferred to elope with a girl to Vienna, and the father-in-law not only condoned the offence but furnished money wherewith to visit Italy. Three years' study in Rome formed his style, and in 1788 he returned to Berlin to succeed Tassaert as sculptor to the court and secretary to the Academy. Over half a century he produced upwards of two hundred works, varied in style as in subjects.
Among his ambitious efforts are Frederick the Great in Stettin, Blücher in Rostock and Luther in Wittenberg. His portrait statues include Frederick the Great playing the flute, and the crown-princess Louise and her sister. His busts, which reach a total of more than one hundred, comprise seventeen colossal heads in the Walhalla, Ratisbon; from the life were modelled Goethe, Wieland and Fichte. Of church monuments and memorial works thirty are enumerated; yet Schadow hardly ranks among Christian sculptors. He is claimed by classicists and idealists: the quadriga on the Brandenburger Thor and the allegorical frieze on the facade of the Royal Mint, both in Berlin, are judged among the happiest studies from the antique. Schadow, as director of the Berlin Academy, had great influence. He wrote on the proportions of the human figure, on national physiognomy, &c.; and many volumes by himself and others describe and illustrate his method and his work.
II. His eldest son, Rudolph Schadow (1786–1822), sculptor, was born in Rome, and had his father at Berlin for his first master. In 1810 he went to Rome and received kindly help from Canova and Thorvaldsen. His talents were versatile; his first independent work was a figure of Paris, and it had for its companion a spinning girl.
Embracing the Roman Catholic faith, he produced statues of John the Baptist and of the Virgin and Child. In England he became known by bas-reliefs executed for the duke of Devonshire and for the marquis of Lansdowne. His last composition, commissioned by the king of Prussia, was a colossal group, Achilles with the Body of Penthesilea; the model, universally admired for its antique character and the largeness of its style, had not been carried out in marble when in 1822 the artist died in Rome.
III. Friedrich Wilhelm Schadow (1789–1862), painter, was the second son of Johann Gottfried Schadow. In 1806–1807 he served as a soldier; in 1810 he went with his elder brother Rudolph to Rome. He became one of the leaders among the German pre-Raphaelites. Following the example of Overbeck and others, he joined the Roman Catholic Church, and held that an artist must believe and live out the truths he essays to paint. The sequel showed that Schadow was qualified to shine less as a painter than as a teacher and director.
The Prussian consul, General Bartholdi, befriended his young compatriots by giving them a commission to decorate with frescoes a room in his house on the Pincian Hill. The artists engaged were Schadow, Cornelius, Overbeck and Veit; the subject selected was the story of Joseph and his brethren, and two scenes, the Bloody Coat and Joseph in Prison, fell to the lot of Schadow. Schadow was in 1819 appointed professor in the Berlin Academy, and his ability and thorough training gained devoted disciples. To this period belong his pictures for churches. In 1826 the professor was made director of the Düsseldorf Academy. The high and sacred art matured in Rome Schadow transplanted to Düsseldorf; he reorganized the Academy, which in a few years grew famous as a centre of Christian art to which pupils flocked from all sides. In 1837 the director selected, at request, those of his scholars best qualified to decorate the chapel of St Apollinaris on the Rhine with frescoes, which when finished were accepted as the fullest and purest manifestation of the Düsseldorf school on its spiritual side. To 1842 belong the “ Wise and Foolish Virgins,” in the Städel Institute, Frankfort; this large and important picture is carefully considered and wrought, but lacks power. Schadow's fame indeed rests less on his own creations than on the school he formed. In Düsseldorf a reaction set in against the spiritual and sacerdotal style he had established; and in 1859 the party of naturalism, after a severe struggle, drove the director from his chair. Schadow died at Düsseldorf in 1862, and a monument in the platz which bears his name was raised at the jubilee held to commemorate his directorate.
(J. B. A.)
SCHAFARIK (Czech, Safaiik), PAVEL JOSEF (1795-1861),
Slavonic philologist, was born of Slovak parents at Kobeljarova,
a village of northern Hungary, Where his father was a Protestant
clergyman. His first production was a volume of poems in
Czech entitled The Muse of Totra with a Slavonic Lyre (Levocza,
1814). In 181 5 he began a course of study at the university of
Jena, and while there translated into Czech the Clouds of Aristophanes
and the Maria Stuart of Schiller. In 1817 he removed to
Prague and joined the literary circle of which Dobrovsky,
Jungmann and Hanka were members. From 1819 to 1833
he was head master of the high school at Neusatz in the south
of Hungary. There he studied Servianliterature and antiquities,
acquired many rare books and manuscripts, and published
a collection of Slovak folk-songs in collaboration with Kollar
and others (1823-1827). In 1826 his Geschichte der slawischen
Sprache und Literatur nach allen M undarten appeared at Budapest
(znd ed., ISOQ). This book was the first attempt to give anything
like a systematic account of the Slavonic languages as
a Whole. In 1833 he returned to Prague, where he spent the
remainder of his life. There he published his Serbische, Lesekarner
oder historisch-krilische Beleuchtung der Serbischen M umiarl,
and in 1837 his great work Slovanské Staroéitnosti (“Slavonic
Antiquities ”). The “ Antiquities ” have been translated into
Polish, Russian and German; a second edition (1863) was
edited by J. ]'ire<'iek. In 1840 he published in conjunction with
Palacky Die dlteslen Denkmdler der bahmisohen Sprache. In
1837 poverty compelled him to accept the uncongenial office
of censor of Czech publications, which he abandoned in 1847
on becoming custodian of the Prague public library. In 1842
he published his Slovansky Nérodopis, in which he sought to
give a complete account of S] avonic ethnology. He was 'also
for some time conductor of the “ Iournal ” of the Bohemian
Museum, and edited the first Volume of the Vybor, or selecti-ons
from old Czech writers, which appeared under the auspices of
the Prague literary society in 1845. To this he prefixed a
grammar of the Old Czech language, Poétitkovd staroieské
mluvnice. In 1848 he was made professor of Slavonic philology
in the university of Prague, but resigned in 1849. He was then
made keeper oi the university library. In 1857 he published
Glagatitische Fragmente in collaboration with Hiifler; but in
the same year, as a result of overwork, ill health and family
anxieties, he became insane. He was nevertheless continued
in his appointment until his death in 1861.
Schafarik's collected works, Sebfané Spisy, were published at Prague. 1862-186 5; his Geschichte der siidslawischen Literatu# was edited by ]ire(:ek in 3 vols. (1864-186 5).
