When the Emperor of Russia was at Rome, four or five years ago, he engaged Barberi, the worker in mosaic, to undertake certain large works, and with the instruction of six Russian students with a view to the establishment of a great school of mosaic art in St. Petersburgh. Since that time Barberi and his pupils have been occupied with works for the imperial residence, the last of which, just completed, consists of an octagonal mosaic pavement, from the ancient design of the round hall in the Vatican Museum, with twenty-eight figures, a colossal head of Medusa in the centre, and a variety of ornaments, all inclosed in a brilliant wreath of fruits, flowers, and foliage. The series already executed consist of four scenic masques, each of which is valued at £5200 sterling. With these finished works Cavaliere Barberi is about to forward to St. Petersburgh a number of vitreous mosaic tablets of every shade and style of drawing and decoration, as models for younger students.
Tenerani, the most eminent of contemporary Italian sculptors, has finished a statue of Bolivar. The figure is standing, full draped, and holding a laurel crown in the left hand. The pediment is ornamented with three bas-reliefs, the three provinces, Peru, Bolivia, and Colombia. Two statues, Justice and Liberality, symbols of the hero's virtues, stand at the side of the monument, which will be erected in the cathedral of Caraccas. It is a fine instance of the beauty and delicate grace of Tenerani's treatment. The expressive head of "The Liberator," with the high, arched brow, the large, soft, and sagacious eyes, the sharply chiselled but agreeable features, beaming with intellectual radiance, are happily conceived and exquisitely executed.
In the same kind we note an equestrian statue of Bernadotte by Togelberg, a Swede resident in Rome. The horseman's mantle has fallen aside, the staff of a commander is in his hand, and the able marshal, "king that shall be," looks graciously down from his horse. In his face there is the imperial force of military genius, with the genial grace of sensibility. The horse is finely done.
Steinhauser's statue of Hahnemann, the father of homœopathy, destined for Leipsic, is almost finished. The same artist has in hand the Goethe monument, designed by Bettina von Arnim. The sketch serves as the illuminated title-page to the second volume of the correspondence with a child. She describes it as follows: "Goethe sits upon a throne, within a semi-niche, his head reaches over the niche, which is not closed above, but is cut away, and seems, half seen, like the moon rising over the rim of a mountain. The mantle, tied round the neck, falls back over the shoulders, and is brought forward again under the arms into the lap. The left hand rests upon the lyre, supported upon the left knee. The right hand, which holds my flowers, is sunk negligently in the same way, and, forgetting fame, he holds the laurel wreath, and looks toward heaven. The young Psyche stands before him, as then I stood, raises herself upon tip-toe to touch the strings of the lyre, which he permits, lost in inspiration."
The artist has appreciated this conception. He has represented Goethe not as an old man, but as a man of ideal expression, holding indeed the well-won laurel, but with the harp in hand, as if inspiration were exhaustless.
Herr Kiss's group in bronze of an Amazon encountering a lion has been purchased by the Prince of Prussia as a present for the Queen of England. A copy of the same work in zinc has been purchased by a gentleman from the United States for £2500. It is said that Kiss has received a commission for two other copies for persons in the United States.