Browsing named entities in Edward L. Pierce, Memoir and letters of Charles Sumner: volume 2. You can also browse the collection for Cerberus or search for Cerberus in all documents.

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Edward L. Pierce, Memoir and letters of Charles Sumner: volume 2, Chapter 20: Italy.—May to September, 1839.—Age, 28. (search)
ies. They all show the right direction. They are simple, chaste, firm, and expressive, and with much of that air (heaven-descended, I would almost call it) which the ancients had, which was first reproduced in modern times by Canova, and has since been carried so far by Thorwaldsen. Crawford is now modelling an Orpheus descending into Hell. The figure is as large as life. He has just charmed with his lyre the three-headed dog, and with an elastic step is starting on the facile descent: Cerberus is nodding at his feet. The idea is capital for sculpture. and thus far our countryman has managed it worthily. It is, without exception, the finest study I have seen in Rome, and if completed in corresponding style,—and I do not doubt that he will do this,—will be one of the most remarkable productions that has come from an artist of his years in modern times. Crawford is poor, and is obliged to live sparingly in order to continue his studies. If his soul were not in them, I think he
Edward L. Pierce, Memoir and letters of Charles Sumner: volume 2, Chapter 21: Germany.—October, 1839, to March, 1840.—Age, 28-29. (search)
a hard German name, who is no mean artist; but as for Cornelius Peter von Cornelius, 1787-1867. He devoted himself to fresco painting. the painter, who has already done whole acres of fresco, I don't like him. There is such a predominance of brick-dust in his coloring and such sameness in his countenances, as to tire one soon. One of his large frescos is Orpheus In the Glyptothek demanding, begging I should say, Eurydice of Pluto. Every thing stands still at the sound of his lyre. Cerberus lies quiet at his feet; he is of the bull-dog breed, with a smooth skin, a snake for a tail, with the hissing mouth at the end, another snake wound round the neck, ears and head smooth, totally unlike Ponto; the whole body extended on the ground, fore-legs as well as hind-legs, one head fast asleep, the next on the ground, eyes half open, the next raised and gaping. I write this for Crawford. They have the sense here to admire Thorwaldsen, Albert Bertel Thorwaldsen, the Danish sculptor
Edward L. Pierce, Memoir and letters of Charles Sumner: volume 2, Chapter 25: service for Crawford.—The Somers Mutiny.—The nation's duty as to slavery.—1843.—Age, 32. (search)
work itself, and cited the opinions of connoisseurs. The editor of the Review, after stating in a note to the article that the statue had been purchased for the Athenaeum, said: It may not be improper to mention here, to the credit of Mr. Charles Sumner (who is also the author of the above paper), that it is mainly to his exertions that his native city will owe the honor and advantage of possessing this noble sculpture. The article thus described the statue:— It is the moment when Cerberus has yielded to the music, and closed the eyes of his three heads in sleep, that the artist has selected for his chisel. The dog lies on the ground, no longer offering any impediment to the passage. Orpheus steps forward with earnest action,—reaching with his body, as it were, into the shades impenetrable to mortals. In one hand he holds the lyre, which has done its first work of conquest; and, with the other, he shades his eyes, that he may better collect the light to guide his adventur