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FORE:But all this time the popular belief in omens had continued unaffected, and had apparently even increased. The peculiar Greek feeling known as Deisidaimonia is first satirised by Theophrastus, who defines it as cowardice with regard to the gods, and gives several amusing instances of the anxiety occasioned by its presence��all connected with the interpretation of omens��such as Aristophanes could hardly have failed to notice had they been usual in his time. Nor were such fancies confined to the ignorant classes. Although the Stoics cannot be accused of Deisidaimonia, they gave their powerful sanction to the belief in divination, as has been already mentioned in our account of their philosophy. It223 would seem that whatever authority the great oracular centres had lost was simply handed over to lower and more popular forms of the same superstition.Farmhouses had no new ��boarders.�� The house on the estate, searched with youthful vim and alert thoroughness, revealed no observable hiding places. Sandy finally gave up.

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FORE:In sculpture at this period we stood much lower than in painting. Here we had no Hogarth, nor even a Thornhill. All that was of any value in this art proceeded from the chisels of foreigners, and even in that what an immense distance from the grand simplicity of the ancients! The sculpture of Italy and France was in the ascendant, but Bernini and Roubiliac had little in common with Phidias and Praxiteles, and our own sculptors presented a melancholy contrast to the work of artists of the worst age of Greece or Rome; there is scarcely a name that is worth mentioning. The best of the native sculptors was John[164] Bushnell, who was employed by Wren to execute the statues of the kings at Temple Bar; and Francis Bird, who was also employed later by Wren to execute "The Conversion of St. Paul," in the pediment of the new cathedral, the bas-reliefs under the portico, and the group in front, all of a very ordinary character. His best work is the monument of Dr. Busby in the transept of Westminster Abbey. Besides this he executed the monument of Sir Cloudesley Shovel, also at Westminster, and the bronze statue of Henry VI., in the quadrangle of Eton College, both very indifferent. Gibbs and Bird executed the ponderous and tasteless monument of Holles, Duke of Newcastle, at Westminster, and the fine old minster is disgraced by a crowd of still more contemptible productions of this period. These can only be equalled in wretchedness by the works of a trading school, who supplied copies in lead of ancient gods, goddesses, shepherds, shepherdesses, etc., for the gardens of the nobility, which soon swarmed in legions in all the gardens and areas in and around the metropolis. Amongst the chief dealers in this traffic were Cheere and Charpentier, who employed foreign artists, even, for such images, and it was the fortune of Roubiliac to commence his English career with the former of these traders. The three chief foreigners of this period were Rysbraeck, Scheemakers, and Roubiliac, who were copyists of the French sculptors Coysevox, Bouchardon, and Le Moyne, as these had been of Bernini.

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