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ONE: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.The young Queen enjoyed, in the new King of Hanover, the advantage of a foil which, with all the force of contrast, placed her character as a constitutional Sovereign in the best possible light. At her accession, the Crown of Hanover, which could not be inherited by a female, was separated from the Crown of England, with which it had been united since the accession of George I. in 1714, and had descended to the Duke of Cumberland, the next surviving male heir of George III. This severance, instead of being regarded as a loss, was really felt as a great relief by the British nation, not only as terminating its connection with German politics, from which nothing but annoyance and expense could result, but, what was regarded as much more important, freeing the country from the presence of the Duke of Cumberland, who was detested for his arbitrary temper. On the 24th of June, Ernest Augustus, King of Hanover, left London, apparently in a very churlish spirit, and breathing hostility to constitutional freedom in the country which was to be cursed by his rule. So strong were his feelings against constitutional government that he had not the grace to receive a deputation of the Chambers, who came to offer him their homage and their congratulations; and on the 5th of July[444] he hastened to issue a proclamation, announcing his intention to abolish the Constitution. He not only did this, but he ejected from their offices, and banished from their country, some of the most eminent professors in the University of G?ttingen. It was thus he inaugurated a rule of iron despotism worse than that of the native princes, who had not the advantage of being brought up in a free country.

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