The first example that occurs in England of a monumental figure in royal coetnme is that of king John, on his tomb in Worcester cathedral. An interesting proof that the figures carved on the lids of tombs were tolerably accurate representations of the persons whose remains they contained, was-afforded by the opening the coffin of king John in the year 1797. The body, &c., was in a state of sufficient preservation to show that it had been dressed in precisely the same costume as that represented in the sculptured effigy.
Wells cathedral was built by Bishop Joceline, who died in 1242. The west front of this church is richly studded with sculpture, con sisting of representations, in relief, of Scripture subjects, and of statues, many of them of colossal dimensions, of kings, queens, saints, bishops, and other patrons or dignitaries of the church. This work must have been in progress at the time that Niccolo Pisano, the restorer of sculpture in Italy, was exercising his art in his own country. Flaxman (' Lectures on Sculpture') thinks that the greater part of the sculpture was by English artists. Some of the statues exhibit much grace and simplicity, and, allowing for the very rude state of art at the time they were produced, they deserve the attention of the curious. The sculpture of the succeeding reign was probably by Italian artists, scholars, or imitators of Niccolo Pisano, who travelled about in search of employment in those countries where ecclesiastical buildings were being erected. The richly decorated crosses that were raised to distinguish the spots wherein the body of Queen Eleanor rested, were probably by these artists, as well as the statues of Edward I. and Eleanor in Westminster Abbey. The flat brasses with figures sculptured, or rather engraved on them, and let into stone slabs, arc' mostly of the 14th century, few being met with earlier than the reign of Edward II.
Under Edward III. it appears that our own countrymen were capable of exercising some branches of the arts of design. Many specimens of that date remain to prove both the extent to which sculpture was employed, and the merits of the artists by whom the several works were executed. Some interesting examples of art of the 14th century may be seen in three recumbent statues in memory of the sons of Edward III.: one is of the Black Prince, in Canterbury Cathedral another of Prince William of Windsor, in Westminster Abbey ; and the third of Prince William of Hatfield, in York Minster. These works were executed between the years 1344 and 1378. There are also three remarkable windows of this date at Dorchester Church near Oxford : one of them is adorned with between twenty and thirty small statues relating to the genealogy of our Saviour ; the others contain reliefs representing Scripture subjects. Various other equally interest ing works, exhibiting the progress of the art, belong to this date ; and the names of several English artists employed by Edward III. at West minster are recorded. (` History of Westminster Palace,' by Smith ; Flaxman, &c.) The figure, in plate armour, of Beauchamp, Earl of Warwick, on his tomb in the Warwick Chapel, with the numerous smaller statues let into niches around it, is the work of William Austin, an English sculptor and founder. It was executed in 1439.
The chapel of Henry VII. in Westminster Abbey is one of the most beautiful specimens of rich architectural decoration that exists in this or perhaps any country. The statues within and without it are said to have amounted originally to 3000, but the number is probably exagge rated. An Italian artist, Torreggiano, assisted in the construction of this magnificent tomb ; hut there is strong reason to believe he was employed on the tomb only, and that the greater portion of the sculp tures in other parts of the chapel were executed before he arrived in the country, and it is presumed they were the productions of native artists. Some of these statues show a beautiful feeling for art, and are
well worthy of attention for the simplicity And grace of their action, and for the tasteful arrangement and careful execution of the draperies.
From the reign of Henry VIII. to Charles I. sculpture fell into neglect. Indeed it frequently happened that, during the religious animosities and the party violence that prevailed, works of art, and more especially works of sculpture, were purposely destroyed. Charles I. showed a strong disposition to encourage the arts. The celebrated Cartoons of Raffaelle were purchased by order of the king, and, with other fine works, were brought into this country. In this reign we meet with the names of English sculptors. Christmas executed a monument to Sir William Pitt and his lady, at Strathfieldsay in Hamp shire; and Stone is the author of a monument in Westminster Abbey, in memory of Sir George Holies, which is not without merit. Gene rally speaking, however, the style and composition of these and other works of the time are utterly worthless, but there is some boldness occasionally in the conception, which may claim for them a passing notice. The sculpture on the pedestal of the Monument of London, representing Charles II., attended by allegorical groups, raising the City of London (under tho form of a prostrate female figure), is a striking example of the pseudo-classical and false taste, in art, of the 17th century. After this time, the principal works in England were by foreigners ; and the names that most frequently occur ire Cibber, Steevene, De Vere, Bertocini, Schccmacker, and Roubiliae, as the authors of monuments and whatever other productions were required in sculpture. This variety of artists, as Flaxman observes, from different countries,— French, Flemings, and Italians,—sometimes brought the taste of Jean Goujon or Puget, sometimes a debased imitation of Giovanni di Bologna and the Florentine school, and some times the taste of Bernini, but never a pure and sound principle. In 1766 an English sculptor, Nathauiel Read, executed a monument, which may be seen in Westminster Abbey, in memory of Admiral Tyrrell. It would not be easy to convey by description any just idea of the strange conceits and incongruous imagery that abound in this work ; and without the aid of the inscription it would be impossible to comprehend the purpose and subject of the artist's ingenious, and, it may truly be said, costly labours. Admiral Tyrrell died at sea, and his body was committed to the deep. In the lower port of the composition aro threo allegorical figures, life-size ; one of them represents Ireland, as the admiral, we are told, was descended from an ancient family of that country, and above is the apotheosis of the deceased. The Historical Description of Westminster Abbey,' after giving the explanatory inscription, notices the work in the following words : " On a piece of -rock—' The sea shall give up her dead, and every one shall be rewarded according to his works.' The figures of History, Navigation, and Hibernia are well cut ; they are represented among the rocks, with the sea above their heads, the admiral himself ascending amidst heavy clouds." This fully describes the style of the art during tho greater part of the 18th century. Allegorical pictures were executed in stone and marble, and it was absolutely necessary to have explanations attached to the work in order to enable tho spectator to comprehend the meaning of the sculpture. The monuments coutaiu every variety of a most confined idea; and Time, Fame, and Death, represented in the most absurd, and often most objectionable forms, are made the accompanying illus tration to almost every work on which the sculptor was employed.