Even the result of this second competition was not definite, but as the designers were guided by the programme, the results obtained were much more satisfactory. The commission decided not to award the first prize, but honored the Italian architects Giuseppi Sacconi and Manfredo Manfredi, and the German Bruno Schmitz, with a prize of $2,000 each; and requested them to enter into another competition and deliver their models within four months, so as to enable the commission to come to a final decision. On June 18, the commission decided to accept Sacconi's design for execution, and awarded a second prize of $2,000 to Manfredi.
Sacconi's design, shown opposite page, cut taken from the _Illustrirte Zeitung_, needs but little explanation. An elegant gallery of sixteen Corinthian columns on a high, prominent base is crowned by a high attica and flanked by pavilions. It forms the architectural background for the equestrian statue, and is reached by an elaborately ornamented staircase.
Manfredi's design shows a handsomely decorated wall in place of the gallery, and in front of the wall an amphitheater is arranged, in the center of which the equestrian statue is placed. Bruno Schmitz' design shows a rich mosaic base supporting an Ionic portico, from the middle of which a six column Corinthian "pronaos" projects, which no doubt would have produced a magnificent effect in the streets of Rome.
[Footnote: From a paper by Prof. Jacobsthal in the _Transactions_ of the Archæological Society of Berlin.--_Nature_.]
The statement that modern culture can be understood only through a study of all its stages of development is equally true of its several branches.
Let us assume that decorative art is one of these. It contains in itself, like language and writing, elements of ancient and even of prehistoric forms, but it must, like these other expressions of culture, which are forever undergoing changes, adapt itself to the new demands which are made upon it, not excepting the very arbitrary ones of fashion; and it is owing to this cause that, sometimes even in the early stages of its development, little or nothing of its original form is recognizable. Investigations the object of which is to clear up this process of development as far as possible are likely to be of some service; a person is more likely to recognize the beauties in the details of ornamental works of art if he has an acquaintance with the leading styles, and the artist who is freed from the bondage of absolute tradition will be put into a better position to discriminate between accidental and arbitrary and organic and legitimate forms, and will thus have his work in the creation of new ones made more easy for him.