SCHADOW, a distinguished name in the annals of Ger-man art.
1 Both these sceptres (or rather the older ones) were shown, one in each hand of the fine bronze effigy of Edward III. in Westminster Abbey, but as a rule royal effigies were represented with only one Sceptre.

I. JOHANN GOTTFRIED SCHADOW (1764-1850), an eminent sculptor, was born in 1764 in Berlin, where his father was a poor tailor. His first teacher was an inferior sculptor, Tassaert, patronized by Frederick the Great; the master offered his daughter in marriage, but the pupil preferred to elope with a girl to Yienna, and the father-in-law not only condoned the offence but furnished money wherewith to visit Italy. The young man made the most of advantages which in those days fell to the lot of few: he gained in competition a prize for a group of Perseus and Andromeda; three years' study in Rome formed his style, and in 1788 he returned to Berlin to succeed his former master, Tassaert, as sculptor to the court and secretary to the Academy. Prussia in rising into a great kingdom had need for much sculpture, and Schadow brought timely talent and exceptional training. Over half a century, crowded with commissions, he persistently produced upwards of two hundred works, varied in style as in subjects. Among his ambitious efforts are Frederick the Great in Stettin, Blucher in Rostock, and Luther in Wittenberg. His portrait statues include Frederick the Great playing the flute, and the crown-princess Louise and her sister. His busts, which reach a total of more than one hundred, comprise seventeen colossal heads in the Walhalla, Ratisbon; from the life were modelled Goethe, Wieland, and Fichte. Of church monuments and memorial works thirty are enumerated; yet Schadow hardly ranks among Christian sculptors. He is claimed by classicists and idealists: the quadriga on the Brandenburger Thor and the allegorical frieze on the facade of the Royal Mint, both in Berlin, are judged among the happiest growths from the antique. Fauns, nymphs, cupids, and figures of fancy, scattered among plain portrait work, kept alive to an advanced age early associations formed in Italy. Schadow, as director of the Berlin Academy, gave proof of intellectual powers which made him a leader and secured many and devoted followers. Personal influence he extended and fortified by his books. He wrote on the proportions of the human figure, on national physiognomy, &c.; and many volumes by himself and others describe and illustrate his method and his work. He died, full of honours, at Berlin in 1850.

II. RUDOLPH SCHADOW (1786-1822), sculptor, son of
the preceding, was born in Rome in 1786. His father,
who returned to Berlin in 1788, was his first master.
Rudolph in 1810 obtained the pension for Rome and
received kindly help from Canova and Thorwaldsen. His
talents were versatile: his first independent work was a
figure of Paris, and it had for its companion a spinning girl.
Following the example set by leading German artists
then settled in Rome, he exchanged the Protestant for the
Catholic faith, and gave pledge of his convictions by statues
of John the Baptist and of the Virgin and Child. In Eng-
land he became known by bas-reliefs executed for the duke
of Devonshire and for the marquis of Lansdowne. His
last composition, commissioned by the king of Prussia, was
a colossal group, Achilles with the Body of Penthesilea;
the model, universally admired for its antique character
and the largeness of its style, had not been carried out
in marble when in 1822 the artist died in Rome.

III. FRIEDRICH WILHELM SCHADOW (1789-1862),
painter, born in 1789 in Berlin, was the second son of
Johann Gottfried Schadow the sculptor, from whom he
received his earliest instruction. In 1806-7 he served as a
soldier ; in 1810 he went with his elder brother Rudolph to
Rome. He became one of the leaders among the German
pre-Raphaelite brethren who eschewed classicism and the
Italian Renaissance and sought to rebuild Christian art
on the principles and practice of early and purer times.
Following the example of Overbeck and others, he joined
the Catholic Church, and held that an artist must believe
and live out the truths he essays to paint. The seque'
showed that Schadow was qualified to shine less as a
painter than as a teacher and director. The Prussian
consul, General Bartholdi, befriended his young com-
patriots by giving them a commission to decorate with
frescos a room 24 feet square in his house on the Pincian
Hill. The artists engaged were Schadow, Cornelius,
Overbeck, and Veit; the subject selected was the story of
Joseph and his brethren, and two scenes, the Bloody
Coat and Joseph in Prison, fell to the lot of Schadow,
These well-studied and sound wall-paintings brought re-
nown to the brethren, who were further fortified by the
friendship of Niebuhr and Bunsen; the former writes—
" They are all men of talent," and " Schadow is parti-
cularly refined and intellectual." Schadow was in 1819
appointed professor in the Berlin Academy, and his ability
and thorough training gained devoted disciples. To this
period belong pictures for churches. In 1826 the pro-
fessor was made director of the Dusseldorf Academy, and
so highly were his character and teachings esteemed that
some of the hest scholars accompanied their master. The high and sacred art matured in Eome Schadow trans-
planted to Düsseldorf; he reorganized the Academy, which
in a few years grew famous as a centre of Christian art to
which pupils nocked from all sides. In 1837 the director
selected, at request, those of his scholars best qualified to
decorate the chapel of St Apollinaris on the Rhine with
frescos, which when finished were accepted as the fullest
and purest manifestation of the Düsseldorf school on its
spiritual side. To 1842 belong the "Wise and Foolish
Virgins, in the Städel Institute, Frankfort; this large and
important picture is carefully considered and wrought,
but lacks power. Schadow's fame indeed rests less on his
own creations than on the school he formed; he imparted
to others nobility of conception, beauty of form, refine-
ment and delicacy in expression and execution. Yet the
master in Düsseldorf encountered opposition: a reaction
set in against the spiritual and sacerdotal style he had
established ; a younger generation rose who stigmatized
his system as narrow and bigoted ; and in 1859 the party
of naturalism and realism after a severe struggle drove the
venerable director from his chair. Schadow died at Düssel-
dorf in 1862, and a monument in the platz which bears
his name was raised at the jubilee held to commemorate
his directorate. (J. B. A.)