Encyclopaedia Britannica > Volume 21, ROT-Siam

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theological position. It led him to oppose the Lutheran view of
the value of the outward means of grace, such as the ministry of
the word, baptism, the Eucharist. He regarded as essential a direct
and immediate participation in the grace of the glorified Christ,
and looked on an observance of the sacraments and religious ordi¬
nances as immaterial. He distinguished between an outward word
of God and an inward, the former being the Scriptures and perish¬
able, the latter the divine spirit and eternal. In his Christology he
departed from the Lutheran and Zwinglian doctrine of the two
natures by insisting on what he called the Vergottung des Fleisches
Christi, the deification or the glorification of the flesh of Christ.
The doctrine was his protest against a separation of the human
and the divine in Christ, and was intimately connected with his
mystical view of the work of Christ. He held that, though Christ
was God and man from His birth from the Virgin, He only attained
His complete deification and glorification by His ascension, and
that it is in the estate of His celestial Vergottung or glorification
that He is the dispenser of His divine life to those who by faith
become one with Him. This fellowship with the glorified Christ
rather than a less spiritual trust in His death and atonement is with
him the essential thing. His peculiar Christology was based upon
profound theological and anthropological ideas, which contain the
germs of some recent theological and Christological speculations.
See Arnoldt, Kirchen- und Ketzer-Historie (Frankfort, ed. 1700); Salig, Historie
der Augsburg. Confession ; Erbkam, Gesch. der prot. Sekten (1848) ; Doi-ner, Gesch.
d. prot. Theol. (1867); also Erbkam’s article in Herzog’s Realencyklopddie,
Bobert Barclay’s work quoted above, and Beard’s Hibbert Lectures (1883).
SCHWERIN", the capital and one of the most attractive
cities of the grand-duchy of Mecklenburg-Schwerin, is
prettily situated at the south-west corner of the Lake of
Schwerin (14 miles long and 3J miles broad), 110' miles
north-west of Berlin. The town is closely surrounded and
hemmed in by a number of lakelets, with high and in
some cases well-wooded banks; and the hilly environs
are occupied by meadows, woods, and pretty villas. The
old and new towns of Schwerin were only united as one
city in 1832; and since that date the suburb of St Paul
and another outer suburb, known as the Vorstadt, have
grown up. Though Schwerin is the oldest town in
Mecklenburg, its aspect is comparatively modern,—a fact
due to destructive fires, which have swept away most of
the ancient houses. The most conspicuous of the many
fine buildings is the ducal palace, a huge irregularly penta¬
gonal structure with numerous towers (the highest 236
feet), built in 1844-57 in the French Renaissance style.
It stands on a small round island between Castle Lake
and the Lake of Schwerin, formerly the site of a Wendish
fortress and of a later mediaeval castle, portions of which
have been skilfully incorporated with the present building.
The older and much simpler palace; the opera-house,
rebuilt after a fire in 1882; the Government buildings,
erected in 1825-34 and restored in 1865 after a fire; and
the museum, in the Greek style, finished in 1882, all stand
in the “old garden,” an open space at the end of the
bridge leading to the new palace. Among the other
secular buildings are the palace of the heir-apparent (built
in 1779 and restored in 1878), the large arsenal, the ducal
stables, the gymnasium, the town-house, the artillery-
barracks, the military hospital, &c. The cathedral was
originally consecrated in 1248, though the present building
—a brick structure in the Baltic Gothic style, with an
unfinished tower—dates for the most part from the 15th
century. Since 1837 Schwerin has been once more the
residence of the grand-duke, and the seat of government
and of various high tribunals,—a fact which has had con¬
siderable influence on the character of the town and the
tone of its society. Neither the manufacturing industry
nor the trade of Schwerin is important. In 1885 the popu¬
lation was 32,031—including about 700 Roman Catholics
and 400 Jews—an increase of 6'4 per cent, since 1880.
Schwerin is mentioned as a Wendish stronghold in 1018, its
name (Zwarin or Swarin) being a Slavonic word equivalent to “game-
preserve. ” The Obotrite prince Niclot, whose statue is placed above
the portal of the palace as the ancestor of the present reigning
lamily, had his residence here. The town, founded in 1161 by
Henry the Lion in opposition to this pagan fortress, received town-
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rights in 1167. From 1170 to 1624 it gave name to a bishopric;
and it was also the capital of the duchy of Schwerin, which forms
the western part of the grand-duchy of Mecklenburg-Schwerin.
Destructive fires, the hardships of the Thirty Years’ War, and the
removal of the court to Ludwigslust in 1756 seriously depressed
the town. It owes its revival and many of its chief buildings to
the grand-duke Paul Frederick (1837-42), to whom a statue by Rauch
was erected in 1859.
SCHWIND, Moeitz von (1804-1871), a painter of the
romantic school, was born in Vienna in 1804. He received
rudimentary. training and led a joyous careless life in
that gay capital; among his companions was the musician
Schubert, whose songs he illustrated. In 1828 he removed
to Munich, and had the advantage of the friendship) of
the painter Schnorr and the guidance of Cornelius, then
director of the academy. In 1834 he received the com¬
mission to decorate King Louis’s new palace with wall
paintings illustrative of the poet Tieck. He also found in
the same palace congenial sport for his fancy in a “ Kinder-
fries”; his ready hand was likewise busy on almanacs, &c.,
and by his illustrations to Goethe and other writers he
gained applause and much employment. In the revival of
art in Germany Schwind held as his own the sphere of
poetic fancy. To him was entrusted in 1839, in the new
Carlsruhe academy, the embodiment in fresco of ideas
thrown out by Goethe; he decorated a villa at Leipsic
with the story of Cupid and Psyche, and further justified
his title of poet-painter by designs from the Niebelungen-
lied and Tasso’s Gerusalemme for the walls of the castle of
Hohenschwangau in Bavarian Tyrol. From the year 1844
dates his residence in Frankfort; to this period belong
some of his best easel pictures, pre-eminently the Singers’
Contest in the Wartburg (1846), also designs for the
Goethe celebration, likewise numerous book illustrations.
The conceptions for the most part are better than the
execution. In 1847 Schwind returned to Munich on being
appointed professor in the academy. Eight years later
his fame was at its height on the compoletion in the castle
of the Wartburg of wall pictures illustrative of the Singers’
Contest and of the History of Elizabeth of Hungary. The
compositions received universal praise, and at a grand
musical festival to their honour Schwind himself played
among the violins. In 1857 appeared his exceptionally
mature “ cyclus ” of the Seven Ravens from Grimm’s
fairy stories. In the same year he visited England to
report officially to King Louis on the Manchester art
treasures. And so diversified were his gifts that he turned
his hand to church windows and joined his old friend
Schnorr in designs for the painted glass in Glasgow cathe¬
dral. Towards the close of his career, with broken health
and powers on the wane, he revisited Vienna. To this
time belong the “cyclus” from the legend of Melusine and
the designs commemorative of chief musicians which de¬
corate the foyer of the new opera-house. Cornelius writes,
“You have here translated the joyousness of music into
pictorial art.” Schwind’s genius was lyrical; he drew
inspiration from chivalry, folk-lore, and the songs of the
people; his art was decorative, but lacked scholastic train¬
ing and technical skill. Schwind died at Munich in 1871,
and his body lies in the old Friedhof of the same town.
SCHWYZ, one of the forest cantons of Switzerland,
ranking fifth in the confederation. It extends from the
upper end of the Lake of Zurich on the north to the middle
reach of the Lake of Lucerne on the south ; on the west it
touches at Kussnacht the northern arm of the latter lake,
and at Arth the Lake of Zug, while on the east it stretches
to the ridges at the head of the Muottathal, which divide
it from Glarus. Its total area is 350'7 square miles, of
which 254’9 are classed as “productive land” (193’3 of
this being pasture or arable land) and 95"8 as “unpro¬
ductive land” (glaciers and lakes occupying 21 square