CHRISTIAN FRIEDRICH, a famous sculptor of Germany, was the brother of the distinguished writer Ludwig Tieck, and was born at Berlin on the 14th of August 1776. He studied successively under Schadow in Germany and David in Paris, and afterward returned to Berlin in 1801, and went subsequently to Weimar, where he found a warm friend in the poet Goethe. Tieck executed busts of Goethe, Voss, and Wolff, during his residence at Weimar, as well as of many noblemen and princes resident in the neighbourhood. Having joined his brother Ludwig on his journey to Italy in 1805, he was fortunate enough to make the friendship of Madame de Staël, and of the Crown-prince Ludwig of Bavaria. He made statues of Madame de Staël and her friends, as well as executing busts of Ludwig, Jacobi, Schelling, Ludwig Tieck, Lessing, Erasmus, Grotius, Herder, Wallenstein, &c., for the Valhalla. While on a second visit to Italy in 1812, he had the good fortune to make the friendship of Rauch, which lasted unbroken till Tieck's death. On his return to Germany in 1819, he set up his studio in Berlin, where he became a prominent agent in all the artistic undertakings of the next thirty years. He was employed on the theatre-royal, the cathedral in Berlin, and the royal museum, as well as on many other pieces of statuesque sculpture, where he had ample scope to satisfy the requirements of his genius on statues of memorial art. He died on the 14th of June 1841.

Kiss, the sculptor of the "Amazon," was a pupil of Tieck's.

LUDWIG, one of the most distinguished writers which Germany has known during the past half-century, was born at Berlin on the 31st of May 1773. He pursued his studies with great ardour and success at the universities of Halle, Göttingen, and Erlangen. Poetry and history formed his favourite pursuits; and, resolving to beat the metal while it was glowing, he published three spirited, though immature, novels at the early age of twenty-two. Unlike the classicists of his time, these books gave evidence of a much loftier, as well as a much deeper intellect, than had ordinarily been exhibited to the German public. The Almansur, in 1790; the Alla Moddin, in 1790-91; and the Der Abschied, in 1792, gave evidence as distinct, through their eastern garniture, of the middle-age spirit of chivalry and romance which informed them, as his Abdallah in 1792, or his more expressly mediæval tale of Das Grüne Band, published during the same year. These were as yet but the outpourings of a strong, rich nature, greatly perturbed by the vast shadows which often deepened into something exceedingly like realities, as they crossed and re-crossed the high vault of the spacious prison-house in which he was inclosed. Tieck evidently regards with passionate scorn the false and base maxims and life led by the world; but he does not yet sufficiently indicate the piloting of that vexed, narrow, winding stream, which all humanity are engaged in navigating. It was only in his more mature efforts, as indeed it ever is, that he surveyed with a calm and steady eye all the creeks and bays, the rapids and the shallows, which beset the sea of life. It was only in his later attempts, that by combining the accountableness of man with the noble and worthy in nature, he succeeded in forming his ideal of poetic—of purely artistic beauty, which he has devoted his whole life to disclose, and the best part of his leisure to illustrate. His William Lovell and Peter Leberrecht, both published in 1795, still give evidence of that crudity of purpose and imperfection of moral development, which characterised his earlier productions. The next six years (1795-1800) was a period of great activity and growth with Tieck. He visited Jena, where he formed a lasting friendship with the Schlegels, Novalis, and Schelling. At Weimar he became acquainted with Herder. The friendship of these men widened and deepened his views of poetical truth. In his Volksmärchen, including his Gestiefte Koter (Puss in Boots) and Blaubart (Bluebeard), published in 1796, he endeavoured to combine the simplicity of the old legends with the dramatic situations which were suggested to him by the animated form which his poetical conceptions assumed. He opened a new vein to the public in these works, of a grotesque Aristophanic railiery, in which he rained down on the elegant classical gentry whole torrents of quiet sarcasm. This evidence of a broad joyous humour was among the first indications of the steady attainment of Tieck's full powers. The more sagacious of his readers marked this change with much inward delight, and now that he had reached the full possession of his powers, the alteration in his manner is striking. This is observable in his drama of Verkehrte Welt (or, World Turned Topsy-turvy), in his tale of Prinz Zerbino, and in his Poet. Journal, Jena, 1800. In 1799-1801, he was engaged on a German translation of Don Quixote, which stands unrivalled in any language for extraordinary freedom and spirit, and a fine comprehension of the meaning of Cervantes. His Genoveva, Fortunat, and Kaiser Octavianus, were published in 1804. The last of these works, in particular, is much admired by his friends in Germany as one of the finest specimens of his romantic powers. Passing over those works in which the lamented Wackenroder had a share, we come to 1801, when he made a journey to Italy with his brother the sculptor. Having been seized with a violent attack of gout on his return next year, he occupied his leisure from the paroxysms of that torturing disorder in publishing his Phantasus, in collecting the old songs and ballads of his native country, which he brought out in 1803 and in 1815. In 1812 he gave to the German public the Alt-Englischtes Theater, consisting of translations of many of the old plays which were current in Shakspeare's time. He afterwards made a thorough study and a tolerably Tiedemann complete collection of those plays when on his visit to England in 1817. His next work illustrative of this period was his *Shakespeare's Vorhochule*, 1823-29, in which he showed great sagacity in endeavouring to establish that Shakespeare began to write much earlier for the stage than is ordinarily supposed. Tieck took an active part about this time in completing the translation of Shakespeare's *Works*, which August Schlegel had begun. He completed this task in 1829. In 1828 appeared his *Dramaturgische Blätter*, and his *Dichterleben* (or Poet's Life), in which he has not hesitated to introduce Shakespeare, Marlow, and others of their time, as playing a part in the imaginary scene which the author's fancy has drawn. He relates the melancholy fate of the poet Camoens, in his *Der Tod des Dichters*, which appeared in 1829; and in 1836 and 1840 appeared the last, and some say the worst of his novels, *Der Tischlermeister* (the Cabinetmaker), and *Victoria Accorombona*. Tieck was now living in Dresden, where he took an active share in the management of the Dresden theatres, and gave grand evening readings of his tales and poems, which attracted all the celebrities of Germany, who strove to gain an introduction to this genial old artist. In 1840 he was invited to Berlin by King Friedrich Wilhelm IV., where he was made a privy councillor, and passed the remainder of his life in his native city and at Potsdam, chiefly engaged in revising his numerous works, which were published at Berlin in 20 vols., 1828-1846. He likewise edited the works of Novalis, in conjunction with F. Schlegel, 1802; of Von Kleist, in 1826; of Solger, with Von Raumer, in 1826; and of Lenz, in 1828. Tieck died after a long period of suffering, heroically endured, in his native city, on the 28th of April 1853. Tieck was one of the earliest, as he was certainly the ablest, defender of the romanticist school of poets in Germany.