and told me that I might now depart in peace from Stuttgart--for that "the
affair might be considered as settled."[22]

I have mentioned to you, more than once, the name of DANNECKER the
sculptor. It has been my good fortune to visit him, and to converse with
him much at large, several times. He is one of the most unaffected of the
living Phidias-tribe; resembling much, both in figure and conversation, and
more especially in a pleasing simplicity of manners, our celebrated
_Chantry_. Indeed I should call Dannecker, on the score of art as well as
of person, rather the Chantry than the _Flaxman_ or _Canova_ of Suabia. He
shewed me every part of his study; and every cast of such originals as he
had executed, or which he had it in contemplation to execute. Of those that
had left him, I was compelled to be satisfied with the plaster of his
famous ARIADNE, reclining upon the back of a passant leopard, each of the
size of life. The original belongs to a banker at Frankfort, for whom it
was executed for the sum of about one thousand pounds sterling. It must be
an exquisite production; for if the _plaster_ be thus interesting what must
be the effect of the _marble_? Dannecker told me that the most difficult
parts of the group, as to detail, were the interior of the leopard's feet,
and the foot and retired drapery of the female figure--which has one leg
tucked under the other. The whole composition has an harmonious, joyous
effect; while health, animation, and beauty breathe in every limb and
lineament of Ariadne.

But it was my good fortune to witness _one_ original of Dannecker's
chisel--of transcendent merit. I mean, the colossal head of SCHILLER; who
was the intimate friend, and a townsman of this able sculptor. I never
stood before so expressive a modern countenance. The forehead is high and
wide, and the projections, over the eye-brows, are boldly, but finely and
gradually, marked. The eye is rather full, but retired. The cheeks are