. The lives of the British sculptors, and those who have worked in England from the earliest days to Sir Francis Chantrey. ESS OF RICHMOND 13 PORTRAITS OF NICHOLAS STONE AND HIS SON 20 EFFIGY OF QUEEN ELIZABETH, ON HER TOMB 23 PORTRAIT OF HUBERT LE SGEUR, AFTER VANDYCK 47 STATUE OF CHARLES I. AT CHARING CROSS, BY LE SCEUR So PORTRAIT OF CAIUS GABRIEL CIBBER, FROM A RARE ETCHING BY BANNERMAN 61 PORTRAIT OF GRINLING GIBBON, AFTER KNELLER 73 STATUE OF QUEEN ANNE, BY BIRD 89 PORTRAIT OF RYSBRACK, AFTER VANDERBANK 99 PORTRAIT OF SCHEEMAKERS, AFTER A UNIQUE ETCHING BY W. HOARE 106 MONUMENT TO SHAKES
. The lives of the British sculptors, and those who have worked in England from the earliest days to Sir Francis Chantrey. ESS OF RICHMOND 13 PORTRAITS OF NICHOLAS STONE AND HIS SON 20 EFFIGY OF QUEEN ELIZABETH, ON HER TOMB 23 PORTRAIT OF HUBERT LE SGEUR, AFTER VANDYCK 47 STATUE OF CHARLES I. AT CHARING CROSS, BY LE SCEUR So PORTRAIT OF CAIUS GABRIEL CIBBER, FROM A RARE ETCHING BY BANNERMAN 61 PORTRAIT OF GRINLING GIBBON, AFTER KNELLER 73 STATUE OF QUEEN ANNE, BY BIRD 89 PORTRAIT OF RYSBRACK, AFTER VANDERBANK 99 PORTRAIT OF SCHEEMAKERS, AFTER A UNIQUE ETCHING BY W. HOARE 106 MONUMENT TO SHAKESPEARE BY SCHEEMAKERS, IN WESTMINSTER ABBEY 109 PORTRAIT OF ROUBILIAC, AFTER CARPENTIERE 113 xi To facepage xii LIST OF ILLUSTRATIONS MONUMENT TO LADY ELIZABETH NIGHTINGALE BY ROUBILIAC 9 PORTRAIT OF WILTON, AFTER DANCE 129 PORTRAIT OF BANKS, AFTER NORTHCOTE 142 PORTRAIT OF NOLLEKENS, AFTER ABBOTT 160 PORTRAIT OF BACON, AFTER DANCE 189 PORTRAIT OF MRS. DAMER, AFTER COSWAY 220 PORTRAIT OF FLAXMAN, AFTER JACKSON 231 MONUMENT TO LORD MANSFIELD, BY FLAXMAN 245 THE SLEEPING CHILDREN, BY CHANTREY, IN LICHFIELD CATHEDRAL 279. z O o CHAPTER I THE PRECURSORS: PETER THE ROMAN, SUTTON,CUMMINGS, TORRIGIANO, STEVENS, ETC. The early history of sculpture in Great Britain is shroudedin more obscurity than is that of any other of the arts—not even excepting architecture, the origins of which, sofar as native talent is concerned, are so difficult to tracewith any degree of certainty. Indeed, until we come tothe reign of James I., and with it the name of NicholasStone, there is hardly a single sculptor who stands outwith any distinctness, and very few, excepting the greatTorrigiano, who worked in this country in the reign ofHenry VIII., who call for any special notice. This isthe more curious because we have on all sides, in ourcathedrals and even in many a country church whichseems almost forgotten by Time, monumental remainsaffording striking proof that some master of the art musthave passed t
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