Moment of Peril," a fine, scholarly work representing a mounted Red Indian repelling the attack of a great serpent which has thrown his horse to earth. How greatly he improved in technical quality and in refinement of taste is to be seen in the life-sized marble statue called "The Genius of Poetry "-graceful where the "Moment of Peril was violent in action, reposeful and harmonious where that was vigorous, and sculpturesque where that was anecdotal. A higher intellectual point was reached in "Song" and in the "Eve," now in the Tate Gallery in London. A similar advance is to be observed in Brock's portraiture. The statues of "Robert Raikes" (on the Thames Embankment) and "Sir Richard Temple" (in Bombay Town Hall), for example, are finely treated, unconventional figures; but "The Rt. Rev. Henry Philpott, D.D., Bishop of Worcester," in which the inherent difficulty of a seated figure is happily surmounted, marks the progress. The skill with which the artist has given the drapery, especially of the sleeves, a lightness not commonly seen, is striking. There are no black holes of shadow: the depressions are shallow and of the right shape to hold light even while securing shadow; yet weakness is avoided and crispness is secured by the sharpening of the edge of the folds-the principle which is established in the Pheidian group of The Fates," for example, among the Elgin Marbles. Other works of importance in the same class are the effigy of " Dr Benson, archbishop of Canterbury," and the admirable statue of "Sir Richard Owen " in the Natural History Museum, South Kensington, and especially the "Thomas Gainsborough "in the Tate Gallery, are all of a high order whether as to character or handling. With these may be grouped the statue of "Sir Henry Irving," the tribute of British actors to the memory of the great dramatic artist (1910), and the seated marble statue of Lord Russell (1904). The bust of Queen Victoria is one of the noblest and most dignified works of its class executed in England; full of tenderness and of character, lovingly rendered; and with a delicate feeling for form, rightly realized. This head heralded the noble work by which the memory of Lord Leighton is to be kept green in the aisle of St Paul's cathedral. In proportion and in harmony of design and of line, alike in conception and in reticence, it is the sculptural expression of a well-ordered mind and taste. The effigy shows Leighton asleep, while figures personifying his arts, painting and sculpture, guard his sarcophagus at head and foot. There is a note of triumph in the great design for the " Queen Victoria Memorial," which provides London with its most elaborate sculptural effort, rising 70 ft. high on a plateau 200 ft. across, with numerous emblematical figures of great size and imposing arrangement. It is based on an elevated style, dignified, refined and monumental; for Brock is a sculptor in the full sense of the term, and his lines are always good.

D. W. Stevenson, K.S.A. (1842-1904), in his general work showed but little sympathy with modern developments. The "Bronze Lectern (in St Cuthbert's Church, Edinburgh) is perhaps the most decoratively effective; but his most ambitious work, called "The Pompeian Mother," is a modern adaptation of the "Niobe and her Daughter" by a follower of the school of Scopas in the Uffizi Gallery.

Although Horace Montford, modelling master at the Royal Academy, passed much time in the studio of Matthew Noble (18181876), he did not thereby lose his sculptural taste. Not that he displayed it much in the share he had, as assistant to C. B. Birch, A.R.A., in the modelling of the notorious "City Griffin" at Temple Bar-a weird but spirited beast, the design for which had been supplied by the city architect, Sir Horace Jones. "A Hymn to Demeter," a life-size statue full of movement, and the statue of Psyche and the Casket of Venus," may be named as typical of the style of Montford, whose work is usually broad and sculpturesque, distinguished by firmness and grace.

Sir Charles B. Lawes-Wittewronge (b. 1843) has produced three large works which have attracted attention: an elaborate and spirited equestrian group of a female Mazeppa-" They Bound me on (1888); "The United States of America" (1890), decorative and not without elegance, and "The Death of Dirce.' The last named, of heroic size, in variously coloured bronze, was first exhibited at the Royal Academy in 1908, and again, in coloured marbles (yet not truly polychromatic in character) in colossal size, at the FrancoBritish Exhibition (1908). The complexity of the design, the skilful composition and arrangement of the elaborate group, the vigour of the modelling, and the impressiveness with which the work imposes itself upon the spectator, combine to render this perhaps the most important sculptured group of its kind exhibited in England. Sir Charles's work is always strong and robust, though occasionally somewhat lacking in repose. W. Hamo Thornycroft (b. 1850; A.R.A., 1881; R.A., 1888) became a great influence for good in the British school. His tendency towards the Greek has been a wholesome reminder of the danger of the over-enthusiasm for naturalism, and yet was never forced to conventionalism. Alike in ideal work, in monumental sculpture and in portraiture, his art is marked by refined taste and scholarship and a noble sense of beauty. It is strong, yet without undue display of power. In him we have to appreciate an unaffected sympathy with grandeur and style, and in all, a big, broad rendering of the human form, with something of the movement of the Greek sculptors and not a little of their repose, yet individual and unmistakably

belonging to the British order of mind. In his largest monumental group however, the "National Memorial to W. E. Gladstone," erected in the Strand, London, there is little trace of the classic. In this work, as in the bronze statue of Bishop Creighton in St Paul's Cathedral, there is a modern feeling entirely responsive to the feeling of the people. Mr Thornycroft's seated marble statue of Lord Tennyson (1909) in Trinity College, Cambridge, is one of his finest portrait figures, full of dignity and excellent in likeness a worthy memorial of the poet. J. Havard Thomas began in 1872 to exhibit portrait sculpture, and soon turned his attention to ideal work, but he did not attract widespread attention until 1886, when he produced "The Slave Girl." This marble nude was a curious contrast to most Slave Girls by other sculptors-that by Hiram Powers, for example. Somewhat stunted in form, she is nevertheless full of very human grace and well-felt realism, and is a good example of the artist's carving. Mr Thomas, indeed, is one of the few to carve his own marbles, often without taking the intermediate step of making a clay model. This of course cannot be the case with his large sculpture, such as his great statue of " The Rt. Hon. W. E. Forster "at Bradford, and his " Samuel Morley, M.P.," and "Edmund Burke, M.P.," both at Bristol; but the beautiful small heads of peasants and childrensuch as the Donatellesque Pepinella "-of Capri, where he lived for years from 1889 onwards, are mostly carved direct from life. The beauty of his chisel work can be seen to perfection in the exquisite bust of Mrs Wertheimer in the Tate Gallery; the marble seems to turn to flesh under his chisel and to palpitate with life: it is, perhaps, too much like flesh. This is very far from the "Classic," with over-attention to which Mr Thomas has curiously and quite inaccurately been reproached. It is true that his much discussed statue "Lycidas" appears to be a distant echo of Myron; it is in truth archaistic, but with an aim altogether different from that of the Greek. It is Classic in a sense, full of life and wonderfully modelled, but the attainment of perfection of human beauty was not the intention of the sculptor, and yet it appears to the unobserving as but a rifacimento. There is a vivid sense of style in Mr Thomas's work, and sometimes a search for beauty in subjects which to the common eye may suggest the ugly. But Mr Thomas must be recognized as an artist of great power and originality and to the last degree conscientious. Sculptural subtleties he loves, and he works in a low key, quiet and unobtrusive, and severe though he is, he is a poet in sentiment with extreme refinement of taste. His reliefs are fine in rhythm, and by their accentuated definition, allied with delicacy, extremely telling.

From the year 1873 Edwin Roscoe Mullins (d.1905) produced numerous busts and statues, and his work was in the main ideal and decorative. His best figure is probably that of "Cain-My Punishment is Greater than I can Bear," executed in 1896; his latest work, "The Sisters" (1905), shows considerable grace. Mullins' work in architectural embellishment was good in style, appropriate and effective.

Joseph Swynnerton (d. 1910) was a sculptor who spent a good deal of his time in Rome and worked under her influence. His colossal fountain of flowers, zephyrs and splashing nymphs is, on the contrary, rather rococo in style, with charming passages. On the other hand, "Love's Chalice " is Classic in feeling. Generally speaking, Swynnerton's work has an appearance of strength, without commonness or lack of effect.

E. Onslow Ford (1852-1901; A.R.A., 1888; R.A., 1895) was lost to British art before he had passed middle age. His seated statue of Henry Irving as Hamlet is a well-conceived piece of realism, with expression subtly marked, and verging upon the theatrical-which is precisely what an actor's character-portrait should be. Compared with this work, the later seated statue, that of "Huxley," keen and refined, is more strictly sculpturesque-for in it there is no" subject,' and there are no ornaments to divert the attention and suggest a false appearance of decoration. The statue of "Gordon mounted on a camel-reminding us too vividly of the "Arab Chief" by Barye-is more open to criticism on the score of the elaborateness of the ornamental details, which almost reach the boundary of what is allowable in sculpture. It is erected at Chatham, and a replica has been set up (1902) in Khartum. A finer memorial is that to the honour of "Shelley." It is, however, better in its parts than in its entirety, because the decorative scheme injures, rather than helps, the sculptural dignity of the drowned poet's exquisitely-rendered figure. Of Onslow Ford's other memorials, that of Queen Victoria at Manchester is perhaps the most discussed and the least to be admired, for although the conception is dignified and characteristic, it does not rank by any means with the best of which the artist was capable. As a truthful portraitist Onslow Ford had few rivals. The sitter is before the spectator, without undue flattery, yet without ever showing the commoner side of the model. Flesh, bone, hair, clothing, are all in their true relation, and the whole is admirably realized. Idealism, or at least poetic realism, Onslow Ford cultivated in a series of small works. Of his last figure, "Glory to the Dead,' it may be said that, although statuesque, it carries realism rather far in treatment. It may be objected that in funerary art, so to call it, the nude was never resorted to by the Greeks in such a relation; but Onslow Ford felt that he was working, not for ancient Greeks, but for modern Englishmen, and that sentiment, and not

archaeology, must in such matters be the guide. There are, besides, the "Marlowe Memorial," set up in Canterbury-graceful and refined, but rather trifling in manner and the "Jowett Memorial," a wall decoration, in the style of the Italian Renaissance. The work of Onslow Ford always charms, for he had a strong sense of the picturesque and a true feeling for beauty, but with insufficient power. But for his delight in decorative detail, he would have been greater than he was; for over-enrichment is in inevitable opposition to the greater qualities of the monumental and the dignified in glyptic art, and abundance of small details involves poorness of effect. But against Ford's taste, especially against his admirable dexterity, little can be said. The high degree of refinement, the charm of modelling, grace of line and composition, sweetness of feeling, which are the note of his work, are in a great measure a set-off against occasional weakness of design and character, and lack of monumental effect.

H. R. Hope Pinker is primarily a portrait-sculptor. Of all his works the seated statue of " Dr Martincau " is perhaps the best, for interest, refinement, and for technical qualities. His reliefs are as numerous as his statues, of which the most popular is the "Henry Fawcett " in the Market Place of Salisbury, but his most important work is the colossal statue of Queen Victoria executed for the government of British Guiana.

The most remarkable work executed by any British amateursculptor is the "Shakespeare Memorial," presented to the nation by Lord Ronald Sutherland Gower, and set up by him outside the Shakespeare Theatre at Stratford-on-Avon (1888). This monument. carried out in Paris, represents the poet on the summit, attended below by the four great_characters-" Hamlet," "Henry V.," "Lady Macbeth" and "Falstaff," designed with singular ability and a happy display of symbolic inventiveness. Lord Ronald also modelled statues of "Marie Antoinette," "The Dying Guardsman," and other works which have secured wide attention.

In 1877 there burst upon the world a new sculptor, in the person of Sir Frederick (afterwards Lord) Leighton (1830-1896; A.R.A., 1864; R.A., 1868), who, in the following year, was to be the president of the Royal Academy. His first work was "An Athlete Struggling with the Python." No piece of sculpture of modern times made a greater stir on its appearance; for here was a work, by a painter, a work, it was declared, which would have done honour to the ancients, fine in style, noble in type and in form, learned in the knowledge of the figure it displayed, original and strong in pose, in action and movement; scholarly in execution and instinct, with the manner of the painter himself. The group was hailed as a masterpiece by one who was thought to be not yet even a student in sculpture, and it was declared by the most exacting critics to be worthy to rank with the best examples of all but the finest periods. Yet it is somewhat lacking in expression-in that kind of humanity which every really great masterpiece of art should exhibit; and connoisseurs applauded the technique, the surface qualities and the like, when they should have been caught by the sentiment. But as Leighton was seeking only the beauty and expression of form, to the neglect of sentiment, he was well content with the reception and world-wide recognition of his work. One day the model for the "Athlete," tired out, rose and stretched himself, and the sculptor was so enraptured by the pose that he forthwith began the model for the "Sluggard." This work is in its way of still higher accomplishment than the "Athlete." It is just as Greek as the other in its devotion to form and its worship of the beauty of the human frame. But it is a condition, a sensation, an idea, rather than an action, that is here recorded; and so it is the higher conception. And it has some of the mystery which is distinctive of the finest art of ancient times, in which modern sculpture is almost entirely deficient. Yet while the "Athlete" may be compared, in idea, with the relatively debased "Laocoon," which it seems in some degree to follow if not to challenge, the "Sluggard belongs to a more elevated expression of a distinctly pagan art, and, as it were, to a better period. Great as was the sensation made by these works, and by the charming little statue of "Needless Alarms (cast by the "lost-wax" process), Leighton seems to have left no direct follower or imitator among the younger men. T. Stirling Lee, by natural ability as well as by cultivation, is an artist of unusual elevation of mind and excellence of execution, and in his composition he aims at securing beauty by the arrangement of his figures in the panel, rather than at enriching them with details, as a designer would do. He is an ascetic in choice of materials, so that his works generally remain beautiful studies of the human form, draped or undraped. It is for his power of telling a story beautifully in marble-as in his panels for St George's Hall, Liverpool, which are among the finest work of their kind in England-that Mr Lee will continue to be admired; he is, beyond almost all others, a sculptor's sculptor. His statue of "Cain," extremely simple in conception, is a masterpiece of expression.

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John M. Swan (1847-1910; A.R.A., 1894; R.A., 1905); a pupil of the Royal Academy and of Gérôme and Frémiet, specialized as a sculptor of a particular class of subject. He is a stylist in a high degree, whose work is full of beauty and importance. For the most part, but by no means exclusively, his sculptures are studies of animals, mainly of the felidae; but he would pass from the accentuation of action to the covering of skin and hair, without seeking much to emphasize the bone and flesh, because they alone display, with the

fascinating expressiveness of their sinuous bodies, the whole range of the passions in the most concentrated form. In the "Leopard Playing with a Tortoise," "Leopard Running," "Puma and Macaw," and similar works, we have the note of his art-sinuosity, with tense muscles, stretched and folded skin, suppressed frenzy of enjoyment. The note of Barye, the great Frenchman, from whom in some measure Swan drew inspiration, is power and strength and decorative form, but his aim is rather at fine, grim, naturalistic studies of a great cat's crawl, with amazing vivacity and vitality. In certain groups, such as "Orpheus" and Boy and Bear Cubs, the sculptor combines the human figure with animal forms. In the composition of these there is always the note of originality. Another student of animal life is Harry Dixon, whose bronze "Wild Boar" is in the Tate Gallery. "A Bear Running," excellent alike in character, form and construction, and especially in movement, "Otters and Salmon," and the figure-subject called "The Slain Enemy "-a prehistoric man with a dead wolf-are among his chief works.

Andrea C. Lucchesi is one of the few who, in spite of all discouragement, has not only persisted in concentrating his attention on ideal work, but has devoted most of it to the rendering of the female form. Prominent among his figures are those called "Destiny," "The Flight of Fancy,' "The Mountain of Fame," "The Myrtle's Altar,' "Carthage, 149 B.C.," and "Verity and Illusion." Mr Lucchesi's main excellence is in the treatment of nude. forms, in which he has succeeded, through agreeable working out of idea and excellent execution, in interesting a public usually indifferent to this branch of sculpture. Alfred Gilbert (b. 1854; A.R.A., 1887; R.A., 1892; resigned, 1909) is to be regarded as one of the greatest figures in British sculp ture, not only as being a master of his art, but as having preached in his work a great movement, and in less than a decade effected more than any other man for the salvation of the British school, and inspired almost as much as Carpeaux or Dalou, the young sculptors of the country. Among his earlier works are two fine heads of a man and a girl, pure in style and incisive in character, which were cast by the cire perdue, or "lost-wax," process, which he had learned in Naples. Its introduction into Great Britain-or, it may be more correct to say, its revival-had considerable influence on the treatment of bronze sculpture by British artists. In Gilbert's portraiture we have not merely likenesses in the round, but little biographies full of character, with a spiritual and decorative as well as a physical side, and the mental quality displayed with manly sympathy. Flesh and textures are perfectly realized, yet broad, simple, and modest. Many of these qualities are as obvious in his portrait-statues, such as the fine effigy set up to "John Howard" in the market-place of Bedford. The monument with which Gilbert's name will ever be associated is the "Statue of Queen Victoria" set up at Winchester, which, since its erection and re-erection in that city, has been irretrievably injured by depredations, and remains incomplete in its decorative details. The queen is shown with extraordinary dignity. Large in its masses, graceful in its lines, the person of the queen enveloped by all the symbolical figures and fanciful ornaments with which the artist has chosen to enrich it, the monument marks the highest level in this class to which any sculptor and metal-worker has reached for generations. The profusion of an ardent and poetic imagination is seen throughout in the arrangement of the figure itself, in the exquisite "Victory that used to surmount the orb, in the stately throne. Invention, originality, and inspiration are manifest in every part, and every detail is worked out with infinite care, and birth is given to a score of dainty conceits, not all of them, perhaps, entirely defensible from the purely sculptural point of view. In a measure it suggests goldsmithry, to which the genius of Gilbert has so often yielded, as in the exquisite epergne presented to Queen Victoria on her jubilee in 1887, typifying Britannia's realm and sea power in endless poetic and dainty suggestions of beautiful devices. Among Gilbert's memorials, not mentioned elsewhere, are those to "Frank_Holl, R.A.," and to "Randolph Caldecott," both in the crypt of St Paul's cathedral, London; the "Henry Fawcett" memorial in Westminster Abbey, which, with its row of expressive little symbolical figures, has been styled "a little garden of sculpture." The finest work of its kind in England is the "Tomb of the Duke of Clarence" in St George's chapel, which in 1910 still awaited final completion. Perhaps his best composition expressive of emotion is the halflength group' "Mors Janua Vitae," a terra-cotta group designed to be executed in bronze for the hall of the Royal College of Surgeons. Few artists in any age have shown greater genius as at once artificer and sculptor. Gilbert is fond of dealing with a subject which allows his fancy full play. His work is full of colour; it is playful and broad. The smallest details are big in treatment, and every part is carefully thought out and most ingenious in design. His playfulness has caused him at times to be somewhat too florid in manner; but his taste is so just, and his fancy so inexhaustible, that he has safely given rein to his imagination where another man would have run riot and come to grief.

Robert Stark is an animal sculptor who has usually attracted the notice of connoisseurs rather than of the greater public, and his fine bronze statuette of an "Indian Rhinoceros is to be seen in the Chantrey Collection. Mr Stark has a profound knowledge of

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Conrad Dressler is best known for his busts of distinguished men, but his statue of "A Girl Tying up her Sandal," and his two large marble panels for St George's Hall, Liverpool, assured him his position. There is a cleverness, a daring, in his marked style, vigour of treatment, and a tendency towards emphasis, especially in his decorative work, much of which is designed for execution in Della Robbia ware. Since his return to pure sculpture he has executed some important work, including a bronze" Bacchante."

In the work of Harry Bates (1850-1899; A.R.A., 1892), especially in the reliefs, with its balance and dignity, its rhythmical line and fine expression, is to be seen a flexibility which few Englishmen had shown up to that time. Style and a genuinely modern treatment of classic form, which is not weakened by touches of naturalism, were also to be recognized. Nor-in his "Homer," for exampledoes the background detract from the main subject: Homer and Humanity in front; and behind, a vision of the Parthenon and Pallas Athene, and the great Sun of Art rising with the dawn of Poetry. Psyche " is more delicate in thought and treatment, but it has little of the originality or force of the "Homer," or of the classic style seen in the head called " Rhodope." The serene and reposeful statue of "Pandora," about to open her ivory casket, successfully achieves the purity of style at which the sculptor aimed. "Hounds in Leash" (the bronze of which belongs to the earl of Wemyss) is a vigorous group which was undertaken by Bates in response to the criticism that he could design no figures but such as are at rest. The plastic group is in the Tate Gallery, where it figures along with the Pandora.' In "Endymion the sculptor seems to have united in some degree the sculptural ideas expressed in the " Homer and the central relief of "Psyche": there is in it a good deal of the grace of the one and of the decorative force of the other, together with a lofty sense of beauty. The portrait-busts of Harry Bates are good pieces of realism-strong, yet delicate in technique, and excellent in character. Sir George Frampton (b. 1860; A.R.A., 1894; R.A., 1902; knighted, 1908), pupil of the Royal Academy, the Lambeth Schools, and Mercié in Paris, is a particularly versatile and original artist, thoroughly in the "new movement which he has done so much to direct. Highly accomplished, he is at home in every branch of his art, and covers the whole field. He first exhibited " Socrates Teaching " (1884), and followed this with "The Songster" (1887), "An Act of Mercy" (1888), “In Silence Prayeth She, The Angel of Death" (1889), "Caprice" (1891), and in 1892 “The Children of the Wolf" his last ideal statue of the kind. It was followed by Mysteriarch," heralding a class of work with which the artist has since identified himself; for being in open rebellion against "white sculpture," he thenceforward devoted himself to colour. "Mother and Child" is an experiment in polychromatic figure-work. The half-length figure called "Lamia," with ivory face, head, and neck, and in a quaint head-and-neck dress of bronze jewelled, is a further departure from the true reserve of sculpture, but beautiful and delightful in feeling. The statue of "Dame Alice Owen," in bronze and marble, and "King Edward VI." are original, notwithstanding the pseudo-medieval taste of their conception. Frampton is happiest in distinctly decorative sculpture. His prolific and inventive fancy has expressed itself in such works as the bronze "The Steamship and "The Sailing Ship" tor Lloyd's Registry in London, and in the memorial "Monument to Charles Mitchell," at Newcastle-onTyne. Herein a new note is sounded, and we have some of the most striking features of Frampton's design. That is to say, he seeks to escape from the purely architectural forms, pediments and mouldings, introducing his own inventions of curved lines, and frequently substituting tree-forms for columns or pilasters, with roots for bases, trunks for pillars, and branches and foliage for capitals. Besides these should be mentioned "The Vision," the seven heroines from the Morte d'Arthur, "My Thoughts are my Children," "Music" and "Dancing," and memorials and busts of "Charles Keene," "R. Stuart Poole," "Leigh Hunt," "Passmore Edwards," "Dr Garnett," a colossal statue of "Queen Victoria " erected in Calcutta, and another, an extremely successful work, for Leeds. His group of " Maternity" (1905) and the full-length seated statue of the marquess of Salisbury (1907) have added to his reputation. There are always charm of arrangement, delicacy of workmanship, and daintiness of feeling, as well as considerable power of design, simplicity, and breadth in his work. Sir George Frampton has also produced a number of fine medals.

W. S. Frith, one of the most successful teachers of sculptors in England, is chiefly remarkable for the decorative quality of his work. As in the monument to "Wheatstone, Inventor of the Telegraph," or again, the standard lamps at the Astor Estate Office on the Thames Embankment, the sculptor shows charm of thought and spirit of design, vigour, and richness of effect. His ideal statuary and portraiture are not his chief work, however; his decorative sculpture for ecclesiastical and secular buildings is vast in extent and has had good influence on the younger school. One of his chief works is the Bishop Ellicott's Memorial," a tomb with recumbent figure, a design of considerable imagination.

Henry A. Pegram (b. 1862; A.R.A., 1904), a pupil of Hamo Thornycroft and of the Royal Academy, attracted early attention

"Ignis Fatuus" (acquired for the Chantrey Collection) and The Doom of Medusa. These were followed by "Eve," "Sibylla Fatidica," "The Last Song," "The Bather," "Labour," and "Fortune," by decorative work for the exterior of the Imperial Institute, and later by the great candelabra which flank the interior western end of St Paul's cathedral. "Into the Silent Land " (1905) is a group typical of the funerary sculpture on which his chisel was engaged in later years. His portraiture is also noteworthy, and his work generally is usually sculpturesque, with movement and life. A. G. Walker has produced notable work in the class of pure sculpture, including the relief representing "The Last Plague: The Death of the Firstborn,' ""Adam and Eve: And They were Afraid " and "The Thorn" (exhibited in bronze in 1910), graceful and quaintly charming, with elegance in the pose and in the action. His chief decorative work includes the sculptural figures in Stamford Hill Church. The name of Captain Adrian Jones was for many years chiefly associated with the spirited work called "Duncan's Horses," a group displaying great knowledge of equine anatomy, form and action; since then his equestrian statue of "The Duke of Cambridge,' erected in Whitehall, London, outside the War Office, has been recognized as a vigorous performance. His most important work is the monumental quadriga designed to crown Burton's great Arch at Hyde Park Corner, London.

"The

W. Reynolds-Stephens (b. 1862), more devoted to goldsmith's figure-work than to larger and more searching sculpture, must be considered less as a statuary than as a poet who sings in metal." A relief, after Sir L. Alma-Tadema's" Women of Amphissa " (1889), was followed by a Wall Fountain," "Truth and Justice," and the Sleeping Beauty," a bas-relief, full of thought, invention, and dainty conceits. In the highly decorated "Launcelot and the Nestling," "Guinevere, and the Nestling," and similar works, the artist makes use of various coloured metals, ivory, gems and the like, with pretty symbolism. Apart from his choice of material, there is a delicate languor about the lines of his figures and reliefs, which display a charming feeling and refined taste. By two striking works he has re-entered the field of pure sculpture the dramatic and somewhat too anecdotal" A Royal Game " and " The Scout in War," exhibited in 1908, an equestrian group of great refinement and excellence. Alfred Drury (b. 1857; Á.R.A., 1900) was a pupil of Dalou, whose assistant for a time he became. The first result was the curious echo of the master's style, "The Triumph of Silenus" (1885). Genius of Sculpture" and "The First Reflection (bought by the queen of Saxony) and "The Evening Prayer" (1890, Manchester Corporation Gallery) were followed by the statue of "Circe" (1893). which, through its grace, elegance of line, and symbolical realization of the subject, achieved a great popular success and was acquired by Leeds. The bronze head of "St Agnes" (1894) is one of the first examples of Mr Drury's later style, belonging to the higher order of conception which, generally speaking, he has since maintained. This may be seen also in "Griselda" (bought for the Chantrey Collection), "The Age of Innocence," and other busts symbolical of childhood, and in the series of "The Months," at Barrow Court. For the decoration of the City Square at Leeds Drury executed the statue of Dr Priestly, consisting of the colossal figure entitled "Even." His colossal groups for the decoration of the War Office, the monumental panels in high relief for the piers of Lambeth Bridge, and the decorative sculpture for the façade of the new Victoria and Albert Museum, all in London, are works of considerable importance. Among the latter are the figures of "Inspiration "and" Knowledge," executed in 1907. Drury's quiet, suave, and contemplative art lends itself well as decorative sculpture to architectural embellishment: His portraiture is also good, reticent, and full of character, and as a manipulator of clay he represents the highest contemporary standard of English sculptors.

Frederick W. Pomeroy (A.R.A., 1906), pupil of the Lambeth and Royal Academy Schools, and of Mercié, is of equal taste and ability. After 1888, when he exhibited the bronze statuette "Giotto," he produced many ideal works-" Love, the Conqueror " (Walker Art Gallery, Liverpool), "Pleasures are like Poppies Spread," Boy Piping,' Dionysos," and "The Nymph of Loch Awe" (both in the Tate Gallery), "A Nymph Finding the Head of Orpheus," Undine," Pensée," ," and the clever study of the nude called The Potter." "Perseus" is an inspiration from Benvenuto Cellini, but "The Spearman" is an original and powerful work. "Feroniae " (1909) is a nude statue, in bronze, remarkable for grace and sculptural animation. In ideal portraiture he has produced the statues of "Admiral Blake," "Dean Hook" (a colossal work for Leeds), "Oliver Cromwell" (also colossal, for St Ives, Huntingdonshire), "Robert Burns" for Paisley, as well as "R. P. Bonington" (1910), 'Monsignor Nugent of Liverpool" (1905), an impressive group, and similar work, together with the life-size panel of "Archbishop Temple," in bronze, for St Paul's cathedral. In true portraiture, Pomeroy executed the Liberal Memorial Statue of Mr Gladstone, in the lobby of the Houses of Parliament, and the recumbent effigy of the Duke of Westminster, for Chester cathedral. His work is strong and sculpturesque, and his statues "stand "well. He sees nature in a big broad way, and his decoration is effective and well designed.

Albert Toft became known by his statue of "Lilith " (1889), and

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emphasized the impression then created by "Fate-Led" (1892, Walker Art Gallery)," Age and the Angel of Death," "In the Sere and Yellow Leaf" (a remarkable study of old age), "The Goblet of Life," and "Hagar." ." "The Spirit of Contemplation" and "The Cup of Immortality are more complete and display dignity and refinement. His memorials of the Boer War, at Cardiff and Birmingham, in design and silhouette, are among the most striking in the country. In Mother and Child" (1903) and " Maternity" (1905) he has greatly raised the high-water mark of his achievement. Toft's busts, such as those of W. E. Gladstone and Philip Bailey, as well as his statue of Sir Charles Mark Palmer, at Jarrow, and similar works, have force and breadth of character; and in his ideal work there is an effort, well sustained and successful, after dignity, harmony, evenness of balance, and relation of the whole. Professor Édouard Lantéri, a naturalized Englishman, to whom British sculpture owes much, employed his own striking gifts to teach rather than to produce. But The Fencing Master," "The Duet," and "A Garden Decoration" have exercised influence on the younger school through their fine sculptural qualities of vitality, richness, joyousness, sensuousness, and movement. His portrait busts are full of life and have that refinement and elegance pushed to the utmost length, which are characteristic of all his work; in his nude figure called "Pax we have much of the severity, dignity, and placid repose of the Greek.

W. Birnie Rhind, R.S.A., has produced little work so important as the elaborate decorations for the doorway of the Scottish National Portrait Gallery, but some of his statues and busts-" King James V. of Scotland," "Lord Salisbury," and others-show the influence

of the modern school.

W. Goscombe John (b. 1860; A.R.A., 1899, R.A., 1909) achieved an early reputation with a figure of "St John the Baptist," an austere creation of real importance. His other chief works are "Morpheus," | "A Girl Binding her Hair,"" A Boy at Play" (Tate Gallery), "The Glamour of the Rose," and "The Elf "-a weird creation of true comedy. In these are shown a love of the purity and refinement of nature, realized with delicacy and a feeling for beauty. In portraiture Mr John is not less successful. The colossal seated statue of "The Duke of Devonshire at Eastbourne has been acknowledged by the best critics in France and England to be one of the finest things of its kind, good in design and quiet suggestion of power. Among his chief memorials are the tomb of the marquess of Salisbury in Westminster Abbey, the "Memorial of the King's Regiment at Liverpool, the equestrian statue of "Viscount Tredegar "at Cardiff, the "Maharajah of Balrampur" at Lucknow, and the monument to Sir Arthur Sullivan in the Embankment Gardens, London. These all sustain the reputation of the sculptor who has from the first been loyally encouraged by his fellow-countrymen of Wales. The striking frieze "The Battle of Trafalgar," for the pedestal of the statue of Viscount Tredegar (1910), is a remarkable performance. Bertram Mackennal (A.R.A., 1909), the son of a Scottish sculptor settled in Australia, acknowledges no school, but was chiefly influenced by study in Paris. In his early ideal works, such as "Circe and "For She Sitteth on a Seat in the High Places of the City," there are boldness and a sense of drama, with a keen appreciation of elegance of form, not without severity and power of design. But they give little hint of the excellence that was to follow and to bring him to the very front rank of British sculptors, so that in 1910 he was selected to design the coinage of the new reign. His great pediment in the Local Government Offices in Whitehall is perhaps the finest work of its kind in the Kingdom. Diana," 1908, bought for the Chantrey Collection in the same year, is a marble nude of extraordináry grace, beauty, and refinement; and his small "Earth and the Elements," similarly acquired in the preceding year for the Chantrey Collection, reveals a poetic beauty rare in these days. The Mother (1910) belongs to this group. The bronze statue of "The Dancer" (1904) is a work not less subtle, in which the learnedness of the sculptor is evident to every discerning eye, and " War," a colossal female bust, reveals a power, amounting almost to ferocity, not disclosed in the other works. Among Mackennal's other important statuary are the War Memorial at Islington and statues of Queen Victoria for India, Australia, and Blackburn; in all of these the sculpture is marked by good style, with movement, vigour, grace and nervousness of treatment.

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G. Herbert Hampton made his first appearance in the Paris Salon with "The Mother of Evil," and then the statues of "David" and Apollo" and " The Broken Vow," "A Mother and Child," "Narcissus, "Orpheus" and other works were seen in the London galleries. Portraiture of merit has come from Mr Hampton, but his greatest success, perhaps, has been achieved in decorative sculpture. F. E. Schenck (d. 1908) was similarly and more emphatically an architect's sculptor-one of those who have done much to embellish many of the numerous great buildings which during the last twenty years of the 19th and the opening decade of the present century sprang up all over Great Britain. The municipal buildings at Stafford and Oxford, the public library at Shoreditch, and the Scotsman offices in Edinburgh-involving groups of colossal figures bearing close relation to their architectural setting-are among the works which made his reputation. His defect was a "curliness in his ornamental forms, which frequently detracts from the dignity and seriousness of his work.

J. Wenlock Robbins is another architectural sculptor of real power and individuality, whose work for the New General Hospital in Birmingham and for the Town Hall of Croydon is of a high order. His portraiture is also good, the colossal statue of "Queen Victoria for Belfast being the most important of his achievements. Of ideal work, the statue called " Nydia" is the best known. Henry C. Fehr (pupil at the Royal Academy and of T. Brock) contributed the group of " Perseus and Andromeda " to the Academy in 1893, when it was purchased for the Chantrey Collection (Tate Gallery). His subsequent ideal works, Hypnos Bestowing Sleep upon the Earth," "The Spirit of the Waves,' "St George and the Rescued Maiden," and "Ambition's Crown Fraught with Pain," confirmed the high opinion of his cleverness; but in some of them his exuberance tells somewhat against their general effect, in spite of their inherent grace and strength. On the other hand, the statue of "James Watt" for the City Square of Leeds exhibits those qualities needful for open-air portraiture; and his busts and statues have character and life. "Isabella and the Pot of Basil" is free from this defect, and is an original treatment of the subject; and "The Briton" (1908), though full of vigour and imagination, shows

restraint.

Gilbert Bayes, at first a modeller in the flat of horses treated in a decorative manner, produced "Vanity," "A Knight-Errant," and similar picturesque bibelôts on a large scale; and later still, such work as "The Fountain of the Zodiac," showing a talent at once more serious, ordered and graceful. "The Coming of Spring (1904) and "The Gallopers" (1905) are reliefs noteworthy for the intelligence and the sculptural appropriateness they display. The equestrian "Sigurd" (1909 and 1910) is full of fancy and illustrates the personal talent of the sculptor: the latter group was acquired for the Chantrey Collection. He is the designer of the great seal (1910). W. R. Colton (b. 1867; A.R.A., 1903) is a sculptor of strong individuality, capable equally of deep feeling and dainty fancy. "The Girdle," The Image-Finder," The Crown of Love," "The Wavelet" and the "The Spring-tide of Life" revealed a sculptor of exceptional ability, whose love of truth and life has sometimes inspired him to place a touch of rather awkward realism in a graceful and charming composition; the result is something unusual, yet quite natural, and because it imparts to the work a flavour of quaintness and originality, it is not only unobjectionable but welcome. Later, Colton struck out another path especially in the monumental and statuary work executed in England and India, Among his principal efforts are the South African memorial to the Royal Artillery erected in the Mall, London, during the summer of 1910, the statue of the Maharajah of Mysore (1906) and a monumental "Tiger" (1909) in bronze a work of considerable power. His vigour of design and sense of style made him a force in the younger school of sculptors. He has acted as professor of sculpture at the Royal Academy.

David McGill first attracted attention with the relief of "Hero and Leander," following it with a series of figures, of which the most striking is "The Bather," a work at once of vigour and of humour. His work is good in pose and line, refined in drawing and feeling, and excellent in style. Charles J. Allen belongs to the same group. "Love and the Mermaid (Walker Art Gallery, Liverpool), A Dream of Love," "Rescued" and "Love's Tangles" (1908) are works of high merit, in every case good in treatment, free in modelling and pleasing in design. His important Queen Victoria memorial in Liverpool was unveiled in 1906, and the monument to "Rt. Hon. Samuel Smith, M.P.," and numerous busts have followed. "The Woman whom Thou gavest to be with me is probably his completest ideal work. F. M. Taubman, who had both French and Belgian teaching, has produced a series of works which display his power of design and strength of technique. "The Angel of Sad Flowers," "Orpheus and Eurydice " and " Adam and Eve reveal his strength in ideal work; and the statue of "Sir Sidney Waterlow" at Highgate is a good example of his monumental portraiture. In "The Sandal," a small nude kneeling figure, he has turned frankly to classic coldness, and even the purity of design and modelling cannot warm it into life. J. Pittendrigh Macgillvray, R.S.A., belongs to the rather meagre Scottish group, of whom he is generally regarded as the chief. His chief work consists mainly of monuments and colossal memorials. The "Peter Low Memorial in Glasgow cathedral, the " Robert Burns," the "Allan Family Memorial," the fine relief of "Rhythm" and the "National Gladstone Memorial" for Scotland are his leading works. With these should be considered the "Dean Montgomery Memorial" in St Mary's cathedral, Edinburgh, and the John Knox Memorial "in St Giles's cathedral.

F. Derwent Wood (A.R.A., 1910) is a sculptor of exceptional ability. His varied training at the Royal College of Art, the Slade School, the Royal Academy schools, and under M. Rodin and Mr Brock-gave him a wide outlook without impairing his individuality. His merit was recognized as soon as he quitted his masters, and he forthwith won the competition for a series of statues