PLATE XXIX.
The illustration of the old motto, “Amor vincit omnia,” was a favourite subject among the artists ofantiquity; and many a sculptured gem and faded wall-painting still hear testimony to the power of thoseemotions which made the traditional “ King Cophetua wed the beggar-maid.” As if, however, to provethat every “yea” must have its “nay,” Rietschel, in the design we now engrave, has shown to whatmiserable straits the little God may be supposed to be occasionally reduced.
Pretty and trifling as may seem the fancy which is superficially expressed in this bas-relief, we cannotdoubt, — knowing the spirituality of the artist’s nature, and his attachment to Ludwig Tieck and MoritzRetsch,—that it was his intention to enforce a more pregnant moral.
In the poor unfortunate Cupid, who has allowed himself to be seduced to mount the beast he cannot
manage, we may read a bitter satire on the miserable fate of those who excite passions which they cannot
control, and attempt to conduct undertakings for which their nature incapacitates them; or, perhaps, wemay fancy that the artist merely essayed to depict the torments of the lover, when borne away by imperiouspassion, and completely abandoned to the fierce and wild career on which the fever of his blood has urged him.
Irrespective, however, of its merit as a work of illustration, it is impossible to refrain from according tothis production the highest possible praise for the freedom and excellence with which the composition hasbeen wrought out. The terror and childish prostration of the Cupid, the lunging movement of the Panther,the texture of the flesh contrasted with the shaggy coat of the animal, and the free and vigorous spirit of the
general execution, all bear testimony to the artistic skill displayed by this great master.
It is truly fortunate for Rietschel’s English reputation, that the three works which he contributed to theGreat Exhibition should differ so widely in character. In the beautiful subject of the “ Christ-Engel ” (PlateV.), we have ample evidence of his power of expressing seraphic grace and the beauty of repose. In his“ Pieta,” a far more severe style of composition and handling is adopted; and as an embodiment of that mostdifficult theme,—expressing the awful agony of a scene too painful to dwell upon with feelings other thanof deep emotion,—it may be regarded as conveying more religious sentiment than any other modern repre-sentation of the same subject. In the “ Cupid and Panther,” the vivacity of imagination, and the ornamentaland pleasing treatment of the subject, prove that Rietschel’s sympathies with the lively and elegant departmentof his art are as strong as with its most serious forms.
In the notice appended to Plate V. we briefly enumerated the leading works in which the genius ofthis artist has been developed. Those only, however, who, besides those productions, have had an opportunityof inspecting his beautiful portrait-busts, his minor works in single figures and bas-reliefs, and the compositionswhich exist only in his drawings and models for every variety of work, can fully appreciate the extent anddiversity of his talents.
It is gratifying to be enabled to state that Rietschel’s two charming bas-reliefs have been retained in