SCHWANTHALER, LUDWIG MICHAEL, an eminent German sculptor, descended from a family of Tyrolean artists, was born at Munich on the 26th of August 1802. Having early received a good education, he entered duly his father's studio to learn the family calling. His free notions of art are said to have disgusted the director of the Munich Academy of Fine Arts, who urged his friends to induce him to pursue some other profession, where his talents would not be likely to render him ridiculous. So much for the insight of academy directors. Schwantahaler, by his father's death in 1821, was compelled to forego the counsel of the Munich director, and to adhere to his father's
Schwarz. business for the support of his family. He shortly afterwards proceeded to Rome, where he derived much benefit from the friendship of Thorwaldsen. On his return he was employed, through the influence of Cornelius, to execute two extensive bassi-relievi friezes for the Glyptothek. He produced about this period a statue of Shakspeare for the theatre, and a basso-relievo frieze of the Apotheosis of Bacchus, for the palace of Duke Maximilian. He revisited Rome in 1832, to complete Rauch's design for the south pediment of the Walhalla, and to execute other commissions for King Ludwig's new palace. In 1835 he was chosen professor of sculpture to the academy of Munich; and from that period till the day of his death, he displayed uncommon industry and genius in the execution of designs for his art-loving patron, King Ludwig. The northern pediment of the Walhalla at Ratisbon contains a work of great sculptural merit from the chisel of Schwantner, called the Hermann-Schlacht, a fine rendering of old Teutonic history. He likewise executed various statues and caryatides for the Walhalla, and numerous cartoons and friezes for the Neue Königsbau, consisting of compositions from Æschylus, from Sophocles, from Aristophanes, and from Hesiod. He likewise ornamented many parts of the Fest-Staalbau, the Pinskothek, and the Neue-Kunstanstaltungs-Gebäude, and the magnificent Ludwigs Kirche. For the latter he modelled statues of Christ and the four Evangelists, St Peter, and St Paul. He likewise erected numerous monumental statues for public and private purposes throughout the greater part of Germany, among which we may mention those of Mozart at Salzburg, of Goethe at Frankfurt, and of Jean Paul Friedrich Richter at Baireuth. But his greatest work, beyond all question, was his colossal statue of Bavaria, executed for his native city, representing a maiden crowned with an oak-garland, in the centre of the Bavarian Hall of Fame. This vast work was designed by Stigmayer, and begun in 1844. It was inaugurated on the 9th of October 1850, nearly four years after Schwantner had died. This work is alike remarkable for its dimensions and its grandeur; and the artist seems to have lavished on it all the wealth of his mind. It was the last work on which he was occupied, and it will remain the most signal monument of his genius. He died on the 17th of November 1848, worn out by ill health and ceaseless industry. He bequeathed to the Academy of Fine Arts of Munich his studio and models. The Crystal Palace contains casts of the head of his "Bavaria," and of his "Shield of Hercules," besides various other products of Schwantner's skill.