. The lives of the British sculptors, and those who have worked in England from the earliest days to Sir Francis Chantrey. o the able, critical, and sound judgmentof the first and last really artistically minded ruler ofthis country.* Here, of course, we are only dealing with one phase ofthe art movement of this period : painting and archi-tecture ; the production of medals or the weaving oftapestries do not concern us; and if the sculptors whoflourished during the reign of James I., with whom wehere have to do, can hardly compare, in importance orpower, with those who came later, they are at
. The lives of the British sculptors, and those who have worked in England from the earliest days to Sir Francis Chantrey. o the able, critical, and sound judgmentof the first and last really artistically minded ruler ofthis country.* Here, of course, we are only dealing with one phase ofthe art movement of this period : painting and archi-tecture ; the production of medals or the weaving oftapestries do not concern us; and if the sculptors whoflourished during the reign of James I., with whom wehere have to do, can hardly compare, in importance orpower, with those who came later, they are at least lessshadowy than were, as we have seen, the personalities oftheir predecessors; and at least one of them stands forthin a far more clear and decisive manner than does anyother sculptor before his day. This was NicholasStone ; but before dealing with him and his sons whofollowed, though with less success, in his footsteps, I will * I do not overlook the splendid patronage and refined taste of LordArundel; but it was Buckinghams influence over Charles that provedreally most beneficial to the arts in this O hw X c -?a w STONE 23 clear the ground by saying what little there is to be saidabout one or two other statuaries who worked in Englandduring the reign of James. The first of these was Maximilian Colte* son ofone Maximilian Poutrain, otherwise Colte, a foreignerdomiciled in this country and living in St. BartholomewsClose. What little we know of him is gained from such dataas Vertue was able to gather together. These unfortunatelyneither include the date of his birth nor of his death, nor,for the matter of that, any mention of his handiwork,with the exception of the monument, which we can all stillsee for ourselves, to Queen Elizabeth, in WestminsterAbbey, and that in St. Bartholomews Church executed byhim in memory of his daughter, Abigail,! who died, at theage of sixteen, on March 29, 1629. Colte seems, how-ever, notwithstanding our dearth of knowledge of him,
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