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Another celebrated statue of Antopolski, representing
the dying Iván the Terrible, is not less interesting. The
Tsar sits in his arm-chair, awaiting the coming of death.
The position has unquestionably been affected by
Houdin’s “Voltaire:” the hand which, groping, anchors
itself on the arm-chair. There is something in the
look as if he saw, in his dying glance, the thirty-five
hundred men whom he has condemned to death pass
slowly before him. Lange has the phrase, “It is like
a soliloquy of Macbeth.”
In Baron Günzberg’s house, rich in works of art, there
is a very admirable bust which Antopolski has made of
Peter the Great, of large size, idealized into a hero, with
royal beauty and the stamp of immense power of will.
In the same place, there is also a captivating bust of a
lady, the likeness of Baron Günzberg’s deceased wife.
Among his other works, a statue of Spinoza, smiling and
contemplative, deserves special mention.
But if the art of sculpture thus has at present only
one great name to point to, yet there is, nevertheless,
great ability in this field in Russia, and a great deal of
plastic talent finds employment in the service of art
industries. It is one of the peculiarities of Russian
society that all the anniversaries, all the jubilees, which
fall to the lot of persons of high position are celebrated
by the presentation of one or more pieces of silver or
gold artistically designed. Not infrequently a jeweller
receives an order from a society or corporation with
permission to go as high as twenty-five thousand rubles,
provided he can produce a real work of art. The Russian
taste for color is employed in a more pleasing manner in
such small works than in large architectural designs.
The jewellers in Moscow understand how to combine
both high and pale colors with gold and silver matte
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