Digitized by the Internet Archive 
 in 2015 
 
 https://archive.org/details/handbooktoprinceOOunse 
 
© 
 
 
 
 r 
 
 
 

 
 * 
 
 
 
 
 \ 
 
 
 
 
 / 
 
 
 
 
 — 
 
 — 
 
 
 
 -»=sr 
 
VIEW OF THE PRINCE CONSORT NATIONAL MEMORIAL. 
 
HANDBOOK 
 
 TO T1IE 
 
 PRINCE CONSORT 
 
 NATIONAL MEMORIAL. 
 
 TOBLXSHED BY AUTHORITY OF THE EXECUTIVE COMMITTEE. 
 
 WITH TWO ILLUSTRATIONS. 
 
 New Edition. 
 
 LONDON: 
 
 JOHN MURRAY, ALBEMARLE STREET. 
 
 1874. 
 
 All rights reserved. 
 
CONTENTS 
 
 INTRODUCTION ........ 3 
 
 ARCHITECTURAL DESCRIPTION 9 
 
 THE MOSAICS 18 
 
 THE DEDICATORY INSCRIPTION AND THE VAULT OF 
 
 THE CANOPY 19 
 
 THE BRONZE STATUES 19 
 
 THE BRONZE-GILT STATUES IN THE SPIRE . . .21 
 
 THE EIGHT GROUPS OF SCULPTURE . . . . 22 
 
 THE SCULPTURES OF THE PODIUM . . . .27 
 
 SOUTH FRONT 29 
 
 EAST FRONT 40 
 
 NORTH FRONT 54 
 
 WEST FRONT .66 
 
 THE STATUE OF HIS ROYAL HIGHNESS THE PRINCE 
 
 CONSORT . . .* . . . .78 
 
 A fuller and more comprehensive account of the entire under- 
 taking is contained in the Illustrated History of the Memorial , 
 published by Mr. Murray. This work contains chromo-litho- 
 graphs and engravings of all the sculpture , mosaics } architectural 
 details , <kc. 
 
 *** For particulars, see page SO of this work . 
 
INTRODUCTION. 
 
 ♦ 
 
 Tiie desire to honour and perpetuate the memory of 
 illustrious men has found expression in some form or 
 ■other, at all periods in the history of civilised nations ; 
 and such memorials may he regarded not only as a tribute 
 of the affection and admiration felt by those contempora- 
 ries who survive, and as bearing testimony to their appre- 
 ciation of the high character of the individual who is thus 
 commemorated, but it may also be said that such memo- 
 rials serve as an example to future generations, encourag- 
 ing them to emulate the same virtues and good qualities 
 which were possessed by him whose memory is thus 
 recorded. 
 
 In the erection of a Memorial Monument to Ilis Eoyal 
 Highness the Prince Consort, it may justly be asserted 
 that both these objects have been held in view. It is a 
 record of the grief so universally felt at his loss, and of 
 the public appreciation of his blameless life ; whilst the 
 upright and beneficent character and the tendencies of 
 mind, which the great Prince possessed, are likewise indi- 
 cated by many of the emblematic forms which decorate 
 Mr. Scott’s elegant structure. 
 
 Moreover, in the stimulus to the development of the 
 decorative arts, which it is hoped the erection of this 
 monument will afford, this form of Memorial becomes 
 not only an illustration of, but also practically realises, 
 many of those objects which the Prince kept constantly 
 in view, and to which he incessantly devoted his ener- 
 gies. 
 
 After the Prince’s death but few days had elapsed, 
 when the general desire arose spontaneously throughout 
 the land to honour and perpetuate his memory in some 
 form. “How shall we hand down to posterity the 
 memory of our great and good Prince ?” was a question 
 
 B 2 
 
4 
 
 PRINCE CONSORT NATIONAL MEMORIAL. 
 
 which, found expression at the very numerous meetings 
 which were then held in the principal towns of the United 
 Kingdom. It was felt, however, that the great National 
 Memorial to the Prince should he erected in the Metro- 
 polis, and accordingly on the 14th January, 1862, a 
 public meeting was convened at the Mansion House by 
 the Lord Mayor (Mr. William Cubitt), in order “ to con- 
 sider the propriety of inviting contributions for the 
 purpose of erecting a lasting memorial to his Loyal 
 Highness the Prince Consort, and to adopt such measures 
 for carrying out the object as may then be decided.’’ 
 
 At this meeting it was resolved : 
 
 Pirst, “ That this meeting, dee ply deploring the irre- 
 parable loss the country has sustained by the lamented 
 death of his Eoyal Highness the Prince Consort, whose 
 powerful and well-regulated mind and great abilities 
 have for more than twenty years been unceasingly de- 
 voted to improving the condition of the humbler classes, 
 to the development and extension of science and art, and 
 to the judicious education and training of the Eoyal 
 Pamily, is of opinion that a lasting Memorial should be 
 erected commemorative of his many virtues and expres- 
 sive of the gratitude of the people.” 
 
 Secondly, “That the Memorial recommended should 
 be of a monumental and national character, and that its 
 design and mode of execution be approved by Her Most 
 Gracious Majesty the Queen.” And, 
 
 Thirdly, ‘ ‘ That Committees should be formed through- 
 out the United Kingdom to raise subscriptions for the 
 proposed Memorial, and that Her Majesty’s subjects 
 should be invited to subscribe.” 
 
 These resolutions met with unanimous support, and 
 the subscriptions having reached a sum of about £35,000, 
 the Lord Mayor, as chairman, took the necessary steps 
 for communicating the results of the meeting to the 
 Queen, and he at the same time sought for an expression 
 of Her Majesty’s wishes in accordance with the terms of 
 the second resolution, namely : That the decision as to 
 the nature and design of the proposed Monument should 
 be left to the Queen. This resolution was prompted, not 
 only by the general desire to consult Her Majesty’s wishes 
 and feelings on a subject in which she must take, above 
 all others, a paramount and absorbing interest, but because 
 it was felt that anything like unanimity or even agree- 
 
INTRODUCTION. 
 
 O 
 
 ment on a question not only of taste, but of sentiment, 
 would be hopeless unless every one would give up his 
 own particular notion or opinion in deference to the 
 expressed wishes of the Queen. 
 
 The Queen then requested the following noblemen and 
 gentlemen to form a Committee in order to assist Her 
 Majesty in selecting some suitable design, and to arrange 
 the details of its execution : — 
 
 The Earl of Derby. 
 
 The Earl of Clarendon. 
 
 Sir Charles Eastlake (President of the Boyal 
 Academy) ; and 
 
 The Lord Mayor (Mr. William Cubitt). 
 
 The first plan which was submitted for their considera- 
 tion was that of a lofty obelisk surrounded by sculptural 
 decoration. This suggestion was carefully examined, but 
 after much investigation it did not appear that this form 
 of memorial would prove satisfactory, and the Committee 
 therefore determined to seek the advice and assistance of 
 some of the most eminent architects, and 
 Sir William Tite, 
 
 Sydney Smirke, Esq., B.A. ; 
 
 G-. G-. Scott, Esq., B.A. ; 
 
 Sir James Pennethorne ; 
 
 T. L. Donaldson ; 
 
 P. C. Hardwick ; 
 
 Sir M. Digby Wyatt 
 
 were invited to draw up a report for their information. 
 
 In order to carry out the recommendations of this 
 report, the Committee requested these architects to submit 
 some designs for a personal Monument to be erected on a 
 site between the end of Botten Bow and the north side of 
 the drive to Kensington, and also for a Memorial Hall to 
 be built to the south of the high road to Kensington, 
 upon the estate of the Commissioners of the Exhibition 
 of 1851. 
 
 Designs were received from 
 Gr. G-. Scott, 
 
 Sir James Pennethorne, 
 
 Thomas L. Donaldson, 
 
 P. C. Hardwick, 
 
 Sir M. Digby Wyatt, and 
 Messrs. C, and E. M. Barry ; 
 and from these designs Her Majesty the Queen, with the 
 
6 
 
 PEINCE CONSOET NATIONAL MEMOEIAL. 
 
 assistance of her Committee of advice, selected that of 
 Mr. G. Gilbert Scott. 
 
 It was, however, subsequently ascertained that the 
 available funds would only suffice for the due and fitting 
 execution of the personal Monument, and the idea of 
 erecting a Memorial Hall was, therefore, abandoned. A 
 hall has since been erected opposite to the Memorial upon 
 land granted for that purpose by the Commissioners of 
 the Exhibition of 1851, but the design prepared by Mr. 
 G. Gilbert Scott, to harmonise with the personal Memorial 
 has not been adopted. The funds for this hall have been 
 provided by joint-stock enterprise. 
 
 The Society of Arts, anxious to further the erection of 
 a national monument to the memory of the Prince Con- 
 sort, who had been for so many years their president, 
 lent their aid to a plan for collecting additional subscrip- 
 tions from the humbler classes throughout the United 
 Kingdom and the colonies, and about £12,000 was thus 
 realised from several hundred thousand contributors. 
 
 The amount of public voluntary subscriptions for the 
 National Monument was no doubt considerable, and taken 
 in conjunction with the numerous local Memorials, very 
 far exceeded any former testimonial of this nature, yet if 
 was felt that after all these subscriptions and local 
 Memorials did not fully represent the entire population 
 of the country, for the voluntary subscriptions re- 
 presented merely the individual subscribers, who were 
 but a comparatively small portion of the whole com- 
 munity. 
 
 In order, therefore, to give the Memorial that national 
 character which it was the general wish that it should 
 possess, and to enable Her Majesty adequately, and with- 
 out further delay, to carry into execution the design which 
 she had selected, it was considered advisable to seek for a 
 vote of the representatives of the people in Parliament 
 assembled. On the 23rd April, 1863, Viscount Palmers- 
 ton, as First Minister of the Crown, brought the matter 
 before the House of Commons, and a sum of £50,000 as 
 an unconditional grant to the Queen for the purposes of 
 the Memorial was unanimously voted. 
 
 The functions of the Committee of advice ceased when 
 they had delivered their third and final report to the 
 Queen, and Her Majesty having selected the design of 
 Mr. G. G. Scott, it became necessary to consider what 
 
INTRODUCTION. 
 
 7 
 
 steps should be taken for carrying that design into 
 execution. 
 
 The whole of the funds which had been collected by 
 public subscription and voted by Parliament for the erec- 
 tion of the Memorial, having been placed absolutely at 
 Her Majesty’s disposal, the Queen, by a formal deed, 
 under her sign manual, appointed the following Trustees 
 with authority to receive and dispose of all the funds 
 collected, and to whom, therefore, the future custody of 
 these funds was entrusted : — 
 
 The Eight Honourable George Lord Yiscount Tor- 
 rington ; 
 
 The Honourable Sir Charles Beaumont Piiipps, 
 KC.B. ; 
 
 Sir Alexander Young Spearman, Bart. ; 
 
 William Cubitt, Esq., M.P. 
 
 The Parliamentary grant of £50,000, the amount of 
 subscriptions received by the Mansion House Committee, 
 and also the fund collected by the Society of Arts, were 
 therefore transferred to these Trustees, and Her Majesty 
 having appointed an Executive Committee to direct the 
 application of these funds, arrangements were at once 
 made for carrying Mr. Scott’s design into execution. 
 
 The following formed the original Executive Com- 
 mittee : — 
 
 1. Lieutenant-General the Hon. Charles Grey, as 
 Chairman ; 
 
 2. Sir Charles B. Piiipps, Keeper of Her Majesty’s 
 Privy Purse ; 
 
 3. Sir Charles Eastlaxe, President of the Koyai 
 Academy ; 
 
 4. Sir Alexander Y. Spearman, Comptroller of the 
 National Debt Office ; and 
 
 5. Sir Thomas Mydelton Biddulpii, Master of Her 
 Majesty’s Household. 
 
 Mr. Doyne C. Bell was appointed to be their Secre- 
 tary. 
 
 1. General Grey had been in the Queen’s service from 
 Her Majesty’s accession to the throne, and was for many 
 years Private Secretary to his Eoyal Highness the Prince 
 Consort. He was also, with Yiscount Torrington, spe- 
 
8 
 
 PRINCE CONSORT NATIONAL MEMORIAL. 
 
 cially selected by the Queen to accompany the Prince 
 from Gotha to England in January, 1840, on the occasion 
 of His Eoyal Highness’s marriage. 
 
 2. Sir Charles Beaumont Phipps had been attached 
 to the service of the Queen and Prince since 1846, as 
 Equerry to the Queen, as Private Secretary to the Prince 
 for a short time, and lastly as Keeper of Her Majesty’s 
 Privy Purse. 
 
 3. Sir Charles Eastlake, as President of the Eoyal 
 Academy, Director of the National Gallery, and Secre- 
 tary of the Eine Arts Commission during the whole 
 period of its existence, represented the head of the artis- 
 tic profession, and the Queen and the Prince constantly 
 consulted with him upon artistic matters. His services, 
 in making the preliminary arrangements with the diffe- 
 rent sculptors and other artists, were most invaluable to 
 the Executive Committee. 
 
 4. Sir Alexander Spearman, who had served the 
 nation for so many years at the Treasury and National 
 Debt Office, was one of the Commissioners and chief 
 financial officers of the Exhibition of 1851. The Prince 
 had frequently had recourse to his advice in financial 
 matters. 
 
 5. Sir Thomas M. Biddulph had been Master of Her 
 Majesty’s Household since 1851. 
 
 These were all personal friends of the Prince, but since 
 September, 1863, the date of the deed appointing these 
 Trustees and the Executive Committee, the hand of death 
 has removed many of them. 
 
 Mr. William Cubitt died in October, 1863. 
 
 Sir Charles Eastlake died in December, 1865. 
 
 Sir Charles Phipps died in February, 1866. 
 
 Lieutenant-General Grey died in March, 1870. 
 
 By supplementary deeds, Her Majesty has since 
 appointed 
 
 Sir Thomas M. Biddulph to be Chairman of the 
 Executive Committee in the place of General Grey, and 
 a trustee in the place of Sir Charles Phipps. 
 
 Sir John Cowell, the present Master of the Queen’s 
 Household, who had been in the service of the Queen 
 and Prince Consort since April, 1 856 : and 
 
 Colonel Henry E. Ponsonby, the Queen’s Private 
 Secretary, and who had been Equerry to the Prince since 
 1857, were also added to the Committee ; and the vacancy 
 
ARCHITECTURAL DESCRIPTION. 
 
 y 
 
 created by the death of Sir Charles Eastlake was filled 
 first by the Eight Hon. A. H. Layard, who resigned in 
 consequence of his appointment as British Minister at 
 Madrid, and subsequently by Mr. Charles Newton, 
 Keeper of the Antiquities at the British Museum. 
 
 After Her Majesty the Queen had selected Mr. Scott’s 
 design, the Executive Committee received an offer of a 
 very liberal nature from Mr. John Kelk, by which 
 he proposed ‘ c to undertake the construction of the Me- 
 morial entirely at cost price, his accounts being open to 
 the supervision of the Executive Committee,” thus offer- 
 ing his gratuitous services as contractor for the erection 
 of the structure. The Executive Committee accepted this 
 offer, and Mr. Kelk became the general contractor for the 
 constructive portion of the building, and concluded all 
 the necessary sub-contracts. 
 
 The labours of the Executive Committee have been 
 much lightened, and the whole work has been very satis- 
 factorily and expeditiously carried out, by the able and 
 liberal assistance thus afforded to them by Mr. Kelk, 
 
 Mr. Bichard Coad was the Clerk of the Works under 
 the Architect. Mr. William Cross was the Manager 
 of the Works for Mr. Kelk. 
 
 ARCHITECTURAL DESCRIPTION. 
 
 — + — 
 
 The following is extracted from the description of his 
 design which Mr. Scott prepared for the information of 
 Her Majesty The Queen and the Executive Committee : — 
 “The idea which I have worked out may be described as 
 a colossal statue of the Prince, placed beneath a vast and 
 magnificent shrine or tabernacle, and surrounded by 
 works of sculpture illustrating those arts and sciences 
 which he fostered, and the great undertakings which he 
 originated. I have, in the first place, elevated the Monu- 
 ment upon a lofty and wide- spreading pyramid of steps. 
 From the upper platform rises a Podium or continuous 
 pedestal, surrounded by sculptures in alto-relievo, repre- 
 senting historical groups or series of the most eminent 
 artists of all ages of the world : the four sides being 
 devoted severally to Painting, Sculpture, Architecture, 
 Poetry and Music. The figures are about six feet high, 
 
10 
 
 PRINCE CONSORT NATIONAL MEMORIAL, 
 
 and are treated somewhat after the manner of Delaroche’s 
 4 Hemicycle des Beaux Arts.’ This forms, as it 
 were, the foundation of the Monument, and upon it is 
 placed the shrine or tabernacle already mentioned. This 
 is supported at each of its angles by groups of four 
 pillars of polished granite, bearing the four main arches 
 of the' shrine. Each side is terminated by a gable, the 
 tympanum of which contains a large picture in mosaic, 
 and its mouldings are decorated with carving, and inlaid 
 with mosaic- work, enamel, and polished gem-like stones : 
 thus carrying out the characteristics of a shrine. The 
 intersecting roofs are covered with scales of metal richly 
 enamelled and gilded, and their crestings are of gilt 
 beaten metal in rich leaf-work. The whole structure is 
 crowned by a lofty spire of rich tabernacle -work in par- 
 tially gilt and enamelled metal, terminated in a cross, 
 which reaches to a height of 180 feet above the surround- 
 ing ground. Beneath this vast canopy, and raised upon 
 a lofty pedestal, will be placed the statue of the Prince. 
 I have chosen the sitting posture as best conveying the 
 idea of dignity befitting a royal personage. 
 
 Besides the sculpture already described as surrounding 
 the Podium, there are on pedestals projecting from each 
 of its angles, groups illustrating the industrial arts of 
 Agriculture, Manufactures, Commerce, and Engineering. 
 Above these, against the pillars, and also in the angles of 
 the gables, are statues which represent the greater 
 sciences, and in the tabernacle-work of the spire are 
 figures of angels and of the Christian virtues. At the 
 angles of the pyramid of steps from which the Monument 
 rises are four large pedestals, bearing groups allegori- 
 cally relating to the four quarters of the globe and their 
 productions : thus referring indirectly to the International 
 Exhibition of 1851. 
 
 The central portion of the Monument is based upon a 
 mass of concrete 60 feet square and 17 feet in thickness : 
 indeed in some parts it is of much greater thickness, 
 owing to the inequalities in the solidity of the ground. 
 Upon this are laid two continuous courses of thick stone 
 landings, bedded in Portland cement ; and on this plat- 
 form is erected the substructure of massive brickwork 
 upon which the Monument is based. The substructure 
 supporting the steps and landings which surround the 
 Monument, though planned simply with a view to their 
 
ARCHITECTURAL DESCRIPTION. 
 
 11 
 
 practical uses, forms a curious, intricate, and picturesque 
 series of catacombs. The materials of which these 
 steps are formed is mainly the grey granite from Castle 
 Wellan, in the County of Down ; the same granite 
 being used for the large pedestals at the angles of the 
 steps; a portion, however, of the steps came from the Dal- 
 beattie quarries, in the County of Kirkcudbright. Owing 
 to the slope of the ground towards the south, an addi- 
 tional range of steps was required on that side leading 
 down to the drive in front. These steps — not less than 
 200 feet in length — are of the granite from Penrhyn, in 
 Cornwall, while the blocks which terminate them, are of 
 the same granite, capped with the pink granite from the 
 Isle of Mull. The great platform and the landings of 
 the steps are paved with stone of varied colours, consist- 
 ing of the white mountain limestone of Hopton Wood, in 
 Derbyshire ; the red magnesian sandstone from Mans- 
 field, in Nottinghamshire ; and the dark slate stone from 
 Charnwood Forest, in Leicestershire. 
 
 The granite up to the levels as yet alluded to is un- 
 polished, but wrought by the axe with extreme delicacy 
 and precision. Above this level, however, all the granite 
 which is exposed to view is finely polished, and has been 
 studiously selected in point of colour and texture, with a 
 view to the harmony of its artistic effect. 
 
 The Podium, or Stylobate, which forms the base of 
 the Great Canopy, is of two kinds of granite and of 
 marble. Its base-moulds, 3 feet in height, are of a single 
 course of the richest red granite from the Eoss of Mull ; 
 and the Cornice, 2 feet in height, is of a lighter coloured 
 variety from the same locality ; both wrought and polished 
 with the greatest care and precision. The intermediate 
 portion, which is of marble, and is occupied entirely by 
 sculpture, is 6^ feet in height in a single course. 
 
 The columns which stand upon the four angles of the 
 Podium consist of no less than six different materials. 
 The plinths of the bases are of the darkest and richest 
 variety of the red granite from the Eoss of Mull. The 
 bases themselves, each in a single block, weighing when 
 un wrought 17^ tons, are of a very dark variety of the 
 Castle Wellan granite, approaching in general effect to 
 black ; the four larger shafts of each cluster of pillars 
 are of the red Eoss of Mull ; the smaller shafts of the 
 grey Castle Wellan ; the central mass, or 4 core, 5 which 
 
12 
 
 PRINCE CONSORT NATIONAL MEMORIAL. 
 
 is, however, concealed from view, is of Cornish, granite. 
 The Capitals are of the hard sandstone from Darley 
 Dale, in Derbyshire, perhaps the finest building stone in 
 the kingdom; and, finally, the ornamental band which 
 binds all these shafts together is of bronze, set with 
 polished gem-like stones. 
 
 It may, however, be mentioned that these groups of 
 shafts do not trust alone for their bond of union to this 
 metallic band. Each of the four greater shafts (which 
 are about 2 feet in diameter) is attached by a dove-tailed 
 groove to the central core, and the groove is run in solidly 
 with Portland cement. Besides this, we have another 
 very important method of attachment; for, while the 
 shafts are jointed behind the metal band, at about one- 
 third of their height from the base, the core is jointed at 
 about the same distance from the capital, thus, as the 
 workmen say, £ breaking joint ; ’ the longer length of 
 one crossing and strengthening the joint in the other; 
 while the joint in each is attached to the side of the other 
 by strong copper cramps, and each block also plugged 
 with four copper dowells to that below and above it ; so 
 that the entire group is, as it were, in one piece. The 
 weight borne by each group of columns is 21 tons per 
 foot super. 
 
 The Pedestal which will support the seated Statue of 
 the Prince is, like the Podium, of granite and marble. 
 There is a sub -base of dark Castle Wellan granite, while 
 the base and cornice are both of an exquisite variety of 
 granite called ‘ Correnie. 5 This is nowhere quarried, 
 but is wrought out of vast boulders on the mountain 
 side ; and this only by special permission of Captain 
 Gordon of Cluny, whose property it is, and who kindly 
 allowed Mr. Cross, the manager of Mr. Kelk’s work, to 
 select suitable blocks. 
 
 Above the columns the use of polished granite is less 
 extensive, being limited to the upper member of the 
 principal cornice, and the bases and corner shafts of the 
 pinnacles. 
 
 The whole of the granite was worked on the spot, 
 admirable machinery having been erected by Mr. Ivelk 
 for the various processes of polishing ; and it is probable 
 that, while some parts of the work are such as have never 
 in our time been worked in polished granite, no other 
 work in that material has surpassed, if indeed any has 
 
ARCHITECTURAL DESCRIPTION. 
 
 13 
 
 equalled it, in tlie exactness and high finish with which 
 it has been executed, or in the beauty of the varieties of 
 granite which have been selected. 
 
 The arches, with the stonework which connects them* 
 as well as the cornices and pinnacles, &c., are carved out 
 in Portland stone, every block having been selected at 
 the quarries from the finest portions of the best descrip- 
 tions of stone. This part is constructed of enormous 
 blocks, so put together as to render the work as much as 
 possible like one mass, and so to obviate as far as may be 
 all outward thrust upon the columns. 
 
 The vaulting, between the stone ribs, as well as the 
 filling in of the Pediments, is of perforated brick as 
 being best suited to receive the mosaic-work : the cement 
 which enters the perforations forming a tie by which the 
 mosaic-work is held firmly in its place. 
 
 The Fleche, or spire, which surmounts the stonework 
 is wholly of metal, and is supported by two enormous 
 ‘ box 5 girders of wrought iron. Each girder lies 
 diagonally from corner to corner of the structure. 
 They may perhaps be more truly described as one girder 
 in the form of a cross, for at their point of intersection 
 they are so united by the interlacing of their component 
 parts as to become in reality a single girder. The 
 girders are in section 3 feet 4 J inches in depth by 3 feet 
 6 inches in width ; their length each way is 31 feet 6 
 inches, and their clear bearing 23 feet 6 inches. Their 
 weight is 23 tons, and it is calculated that they are 
 capable of sustaining a load equal to 360 tons. The 
 ends of the girders rest upon vast blocks of granite, 
 which being laid across the angles of the structure, tend 
 to bind its walls together, and to carry down the weight 
 directly and vertically upon the columns. On these 
 girders the internal structure of the fleche is erected, 
 and consists entirely of cast iron built up in stages, and 
 firmly bolted together at every point. The framework 
 of the roof which unites the fleche with the gables is of 
 iron, and the whole forms the groundwork for the over- 
 laying of ornamental lead and copper- work. For the 
 arrangement and construction of the iron-work forming 
 the interior of the fleche, as well of the great girders by 
 which it is supported, I am indebted to my friend, Mr. F, 
 W. Shields, the eminent engineer. 
 
 The water from the fleche and the roof is conducted 
 
14 
 
 PRINCE CONSORT NATIONAL MEMORIAL. 
 
 -downwards by lead pipes, concealed within the clustered 
 columns, and thence through the substructure into the 
 drains ; but an accidental overflow is provided for by gur- 
 goyles of Darley Dale stone at the angles of the cornice. 
 Lightning-conductors are similarly carried down within 
 the columns. 
 
 The following statistics respecting the various items in 
 the work are somewhat curious. The quantity of con- 
 crete used is 120,000 cubic feet, of which 61,200 cubic feet 
 are to a single block. Beneath the steps are 396 piers 
 and 868 arches. The total length of granite steps is 
 11,879 feet, or 2J miles, and the number of steps is 1803. 
 Some of the blocks of granite in the Podium weigh 15 
 tons. The sub-plinths of the bases of columns are two 
 hS tones, each weighing 10 tons, and the bases themselves 
 in single blocks, weigh upwards of 15 t6ns each : the 
 working of each of these stones occupied 12 men for 
 16 weeks, and cost £260. The length of polished granite 
 columns is 791 feet in 56 stones. The pavement of the 
 platforms covers a surface of 23,803 square feet. 
 
 The blocks forming the capitals weighed, before being 
 wrought, 1 3 J tons each. The blocks of Portland stone form- 
 ing the arches, &c., generally weighed 5 to 8 tons each. 
 
 The mechanical appliances were so perfect that the 
 whole of the stone -work above the Podium, including the 
 great columns, the arches, the pinnacles, gables, and 
 groining, was erected in 13 weeks ; and of this, four blocks, 
 weighing together 40 tons, were raised to the height of 
 70 feet in 11 hours, and completely fixed in 10 hours. 
 
 The iron girder which carries the fleche weighs 23 tons, 
 and the weight resting upon it is 210 tons. The scaffold- 
 ing contained 3000 feet of timber, and bore a “ traveller ” 
 capable of lifting 20 tons. 
 
 It is satisfactory to record, that the entire building has 
 been erected, and the complicated scaffolding removed 
 without the slightest accident of any kind. 
 
 The marble dado of the great pedestal for the statue of 
 the Prince, is carved in deep, and richly ornamented 
 panels, containing in the centre of each face the different 
 armorial bearings of the Prince Consort, viz., to the south, 
 the Prince’s arms as Prince Consort, but without sup- 
 porters ; to the north, the arms borne by the Prince as a 
 Prince of Saxe- Coburg (Duke of Saxony), before his mar- 
 riage ; to the west, the full arms of the Prince Consort 
 
ARCHITECTURAL DESCRIPTION. 
 
 15 
 
 with supporters ; and to the east, the two shields of the 
 Queen and the Prince Consort in juxtaposition, an allu- 
 sion to His Royal Highness’s marriage. These shields 
 are bronze, enamelled to the proper colours. The remain- 
 ing eight panels contain insignia of the British orders of 
 knighthood borne by the Prince, viz., on the south side, 
 the stars of the orders of the Garter and the Thistle ; on 
 the east side, those of the orders of the Bath and St. 
 Patrick ; on the north side those of the Star of India, and 
 St. Michael and St. George ; and on the west side, the 
 insignia of his two principal foreign orders, viz. of the 
 Golden Pleece (the great order of the old German Em- 
 pire), and of the Saxe Ernestine (or family) order. The 
 architectural carving has been most ably executed by 
 Mr. Brindley, of the firm of Parmer & Brindley. 
 
 The whole of the metal-work has been carried out by 
 Mr. F. A. Skidmore. It consists mainly of the roof and 
 the fleche or spire. The roof is covered by massive, over- 
 lapping scales of lead, each semi-circular on its outer edge, 
 and richly embossed. Its ridges are covered by a rich 
 cresting of copper, 2 feet in height, consisting of bold, 
 embossed foliage. The gables are bordered along their 
 sloping edges by castings of similar workmanship, and of 
 varied patterns, and terminated at the apex by lofty 
 foliated finials, bearing magnificent globes of copper 
 covered with a tissue of elaborate fretwork of exquisite 
 workmanship, and inlaid with polished, gem-like stones. 
 These gems and inlays are formed of vitreous enamel, 
 spar, agates, and onyxes, upwards of 12,000 in number; 
 of these 200 are real onyxes, many of which are 3| inches 
 in diameter. The fronts of the gables are plated with 
 alternate plaques of gemmed filagree and of enamel 
 inlay, bounded by bold enriched mouldings. 
 
 The lower stage or basement of the fleche, against 
 which the four roofs abut, is a square mass flanked at its 
 angles with salient abutments, in advance of each of 
 which is a pedestal bearing the figure of a lion carrying 
 a label, on which is the motto of the Prince. The surface 
 of this basement, as well as of the abutments and the 
 pedestals, is a richly embossed diaper of lead- work, in the 
 pattern of which the letter A alternates with two of the 
 crests of the Prince. 
 
 The next stage, which serves as the pedestal to the 
 group of tabernacle -work which forms the principal 
 
10 
 
 PRINCE CONSORT NATIONAL MEMORIAL. 
 
 feature of the fleche, is also beautifully embossed, but in 
 this instance, with very rich and bold panels. It is 
 flanked at the angles with salient buttresses and columns, 
 the shafts of which are embossed in rich pattern work, in- 
 laid with enamel ; the cornices and capitals have beautiful 
 foliage in copper. 
 
 The next or principal stage consists of four extremely 
 rich tabernacles, the roofs of which intersect like a minia- 
 ture of the Monument itself. These niches are supported 
 by clustered pillars, the shafts of all of which are enriched 
 throughout with embossed and inlaid work, and the 
 capitals with foliage in copper. Their gables are like 
 miniatures of the main gables already described, and their 
 pinnacles are richly panelled and inlaid with enamels. 
 The very backs of the niches, which are mainly hidden by 
 the figures, are of rich pattern-work, carying out the 
 principle of the olden time, that parts are not to be 
 neglected because partially concealed. These niches con- 
 tain figures in copper 8^ feet high, and at the angles are 
 placed four other statues 7-J feet high, standing upon the 
 columns which flank the corners of the story below. Oyer 
 the canopies of the niches the fleche rises again in reduced 
 proportions, assuming a more columnar form, every 
 part being enriched in the same manner as below. This 
 columnar part is flanked at two stages by figure-s of angels 
 in copper, which are respectively 6 J feet and 6 feet in height,, 
 above which, reducing itself to a single column, the fleche- 
 is terminated by a magnificent embossed globe, bearing a. 
 large cross enriched with embossed work and inlay. 
 
 The general scheme of the series of works of high art 
 which form the real life and soul of the Memorial is as 
 follows : — The great statue of the Prince Consort himself, 
 forms the central feature round which all other works 
 of art group themselves. We have at the angles four 
 ranges, each containing four illustrations of subjects to 
 which the Prince had devoted his study and patronage. 
 
 Pirst. On the pedestal at the outer angles of the steps,, 
 we have groups of figures in marble representing allegori- 
 cally the quarters of the globe, with reference to the great. 
 International Exhibitions, which have done so much for 
 practical art and manufactures and the production of 
 varied industry, and which claim the Prince Consort as. 
 their great originator. 
 
 Secondly. We have on the upper pedestals which form 
 
ARCHITECTURAL DESCRIPTION, 
 
 17 
 
 the angles of the Podium, groups, also in marble, illus- 
 trating Agriculture, Manufactures, Commerce, and En- 
 gineering, all furthered and promoted by the International 
 Exhibitions. 
 
 Thirdly. The great pillars of the Memorial bear on their 
 outer faces, on pedestals of polished granite and gilt bronze, 
 statues in bronze, representing Astronomy, Chemistry, 
 Geology, and Geometry, and 
 
 Fourthly. On the niches immediately oyer the capitals 
 of these pillars are a second range of bronze statues re- 
 presenting Ehetoric, Medicine, Philosophy, and Phy- 
 siology. 
 
 These groups and statues, which occupy the four angles 
 at successive heights, thus illustrate the whole range of 
 science and of practical art and industry. 
 
 The four faces of the Monument are devoted to the illus- 
 tration of the fine arts. Thus each face of the Podium 
 contains in alto-relievo an historical series of portrait (or 
 quasi-portrait) statues of selected artists in Painting, 
 {Sculpture, Architecture, and Music, the latter being; 
 coupled with Poetry. In the pediment of the gable, above 
 each of these groups, is a mosaic picture idealizing the 
 art of wdiich the great professors are portrayed below ,* 
 while in the spandrels of the arches are (also in mosaic) 
 groups illustrative of the practice of the art in question. 
 
 Thus the sculptural and pictorial enrichments of the 
 Monument from its base to its roof are illustrative of art 
 and science in all their branches. 
 
 From this level, however, the sentiment is changed, 
 and religion and virtue become the subjects of illustration. 
 Thus, the figures in the four great niches in the fleche 
 idealize the four greater Christian virtues — -Faith, Hope, 
 Charity, and Humility ; and the four statues at the angles 
 of the same story represent the four greater moral virtues 
 — Fortitude, Prudence, Justice, and Temperance. 
 
 The four angels immediately over these niches are in 
 attitudes suggestive of the resignation of worldly honours; 
 while those above and surrounding the base of the cross 
 suggest aspiration after heavenly glory. 
 
 G. *G. Scott, E.A.” 
 
 G 
 
18 
 
 PRINCE CONSORT NATIONAL MEMORIAL. 
 
 THE MOSAICS. 
 
 The glass mosaics in the tympana, spandrels, and vault- 
 ing are executed by Messrs. Salviati and Co., of Murano, 
 near Venice, from designs prepared by Messrs. Clayton 
 and Bell. 
 
 The tympanum on each front is occupied by an alle- 
 gorical figure of one of the fine arts of Poetry and Music, 
 Painting, Architecture, and Sculpture ; in the spandrels 
 beneath are representations of ideal figures practising the 
 art, whilst on the corresponding front of the Podium 
 below, are carved in marble the portrait figures of those 
 who have lived and actually exercised the art on earth. 
 
 The mosaic pictures above appear to resolve the idea 
 which is elaborated in the Podium below, and thus em- 
 phasize the idea, and form a connection between the base 
 and the pediment. 
 
 On the South front the figure of Poetry holds a lyre in 
 her right hand, and in her left hand a scroll, on which 
 is inscribed the names of Homer, Virgil, Dante, Shakes- 
 peare, and Moliere ; the figures of King David and Homer 
 are inserted in the niches of the throne. In the span- 
 drels are shown the poet and the musician. 
 
 On the East side the figure of Painting holds a palette 
 and brushes in the left hand; the right hand resting on a 
 strained canvas. The figures of Apelles and Eaphael are 
 shown in the niches of the throne. The painter and his 
 model fill the spandrels. 
 
 On the North side, the figure of Architecture holds a 
 pair of compasses, and a sketch of the Memorial itself ; 
 the niches of the throne being occupied by the figures of 
 Solomon and Ictinus : the former holds a model of the 
 Jewish Temple, and the latter a model of the Par- 
 thenon. In the spandrels appear the designer and the 
 builder. 
 
 On the West side, the figure of Sculpture holds in one 
 hand a small model, and in the other a sculptor’s mallet : 
 the niches of the throne being occupied by figures of 
 Phidias and Michael Angelo. In the spandrels are figures 
 of the modeller and the carver. 
 
THE BRONZE STATUES. 
 
 19 
 
 THE DEDICATORY INSCRIPTION 
 
 AND 
 
 THE VAULT OF THE CANOPY. 
 
 QUEEN VICTORIA AND HER PEOPLE 
 TO THE MEMORY OF ALBERT, PRINCE CONSORT, 
 
 AS A TRIBUTE OF THEIR GRATITUDE 
 FOR A LIFE DEVOTED TO THE PUBLIC GOOD. 
 
 The dedicatory inscription is executed in Mosaic, the 
 letters being of blue glass with black edges, placed upon 
 a ground of gold enamelled glass. 
 
 The vault is of a blue mosaic ground, on which are re- 
 presented the armorial bearings of the Prince Consort. 
 
 THE BRONZE STATUES. 
 
 The eight bronze statues at the angles of the structure 
 represent the greater sciences. 
 
 The Statues of ASTRONOMY, CHEMISTRY, GEO- 
 LOGY, and GEOMETEY, are placed on short columns 
 of granite in front of each of the four great clusters of 
 columns. They are 8 feet 4 inches in height. The Statues 
 of BHETOBIC, MEDICINE, PHILOSOPHY, and 
 PHYSIOLOGY, occupy niches above at the angles of the 
 great canopy. They are 7 feet 6 inches in height. 
 
 ASTEONOMY.— By H. IT. Armstead. 
 
 This statue stands at the South-East angle. The head 
 of the figure is bound with a fillet of stars, and in her 
 hands she holds a globe, as an emblem explanatory of 
 the science of astronomy, the sphere being the symbol 
 usually given to Urania by the sculptors of antiquity. 
 
20 
 
 PRINCE CONSORT NATIONAL MEMORIAL. 
 
 CHEMISTRY.— By H. H. Armstead. 
 
 This statue stands at the North-East angle. As an 
 emblem explanatory of the science of Chemistry, the 
 figure bears in her hand a retort, one of the most im- 
 portant instruments employed in chemical investigation. 
 
 GEOLOGY.— By J. B. Philip. 
 
 This statue stands at the North-West angle. The figure 
 holds in her right hand a hammer or pick- axe, in the 
 other she bears a representation of the earth partly ex- 
 cavated : at her feet are metallic ores, and the remains of 
 antediluvian animals. 
 
 GEOMETRY.— By J. B. Philip. 
 
 This statue stands at the South-West angle. In her 
 right hand the figure holds a pair of compasses, whilst her 
 left hand rests on a tablet, on which is inscribed a series 
 of geometrical lines. 
 
 RHETORIC.— By II. H. Armstead. 
 
 This figure occupies the niche at the South-East angle 
 of the Canopy. Her head is inclined forward, and she is 
 apparently perusing and discoursing a speech which she 
 holds in her hand. 
 
 MEDICINE.— By II. II. Armstead. 
 
 This figure occupies the niche at the North-East angle 
 of the Canopy. In her left hand she holds a cup, and in 
 the right a serpent : the emblems or attributes usually 
 given to Hygceia, the daughter of Esculapius. 
 
 PHILOSOPHY.— By J. B. Philip. 
 
 This figure occupies the niche at the North-West angle 
 of the Canopy. In the left hand she holds an open book 
 to which she points with her right : thus indicating the 
 great development of philosophy by means of literature. 
 
 PHYSIOLOGY.— By J. B. Philip. 
 
 This figure occupies the niche at the South-West angle 
 of the Canopy. On her left arm she bears a new-born 
 
THE BRONZE-GILT STATUES IN THE SPIRE. 21 
 
 infant, as a representation of the development of the 
 highest and most perfect of physiological forms. Her 
 right hand points towards a microscope, the instrument 
 which lends its assistance for the investigation of the 
 minuter forms of animal and vegetable organisms. 
 
 THE BRONZE-GILT STATUES IN THE 
 
 SPIRE. 
 
 The four statues in the great niches of the spire repre- 
 sent the four greater Christian virtues. 
 
 EAITH, HOPE, CHAEITY, and HUMILITY. 
 
 Faith , in the North niche, bears in the left hand a cross, 
 and in the right hand a chalice. 
 
 Hope , in the West niche, looks heavenward : her emblem, 
 the anchor, being placed at her right side. 
 
 Charity , in the South niche, is a crowned figure, un- 
 covering her bosom with the right hand, and holding in 
 her left hand the burning heart. 
 
 Humility , in the East niche, looks down, and is fully 
 draped ; she holds a lighted taper in the right hand. 
 
 The four statues placed at the angles of these niches 
 typify the four greater moral virtues : 
 
 EOETITUDE, PEUDENCE, JUSTICE, and 
 TEMPERANCE. 
 
 Fortitude, at the South-West angle, is a figure armed 
 with a shield and club . 
 
 Prudence , at the South-East angle, holds the serpent, 
 the emblem of wisdom. 
 
 Justice , at the North-West angle, bears in her hands 
 the sword and scales. 
 
 Temperance , at the North-East angle, holds a bridle in 
 her hands. 
 
 These eight statues are 8 feet in height, and were 
 designed by Mr. J. Eedfern, and executed by Messrs. 
 Skidmore and Co. 
 
22 
 
 PRINCE CONSORT NATIONAL MEMORIAL. 
 
 Above these, and clustered round the base of the cross, 
 are eight figures of angels, also of gilt bronze, arranged 
 in two ranks. 
 
 These were designed by Mr. J. B. Philip, and executed 
 by Messrs. Skidmore and Co. 
 
 THE EIGHT GROUPS OF SCULPTURE. 
 
 — + — 
 
 The pedestals of the lower groups are parallel with the 
 general plan of the structure; those of the upper or 
 angle groups are placed diagonally, but in both cases the 
 composition faces towards the angles, the diagonal 
 arrangement being indicated in the lower groups by the 
 position of the animal and the march of the composition. 
 
 Tiie Four Lower Groups. 
 
 These represent the four continents— 
 
 EUROPE, ASIA, AFRICA, AMERICA. 
 EUROPE.— By Patrick Macdowell, R.A. 
 
 This group is placed on the South-West angle Pedestal. 
 
 It is composed of five seated female figures; the cen- 
 tral figure, specially typifying the continent itself, being 
 placed on a bull; in allusion to the ancient mythological 
 fable. She holds in the right hand a sceptre, and in the 
 left an orb, in reference to the influence which Europe 
 has exercised over the other continents. 
 
 The figure representing England is seated on a rock, 
 against which the waves are dashing, and her right hand 
 holds a trident, whilst her left hand rests on a shield 
 bearing the united crosses of St. George and St. Andrew. 
 
 France, as a military power, is shown holding a sword 
 in the one hand, and in the other a wreath of laurel. 
 
 Germany, the great home of literature and science, is 
 represented in a thoughtful attitude, with an open volume 
 on her knee. 
 
 Italy is shown as awakening from a dream, in allusion 
 
THE EIGHT GROUPS OF SCULPTURE. 
 
 23 
 
 to her recent union into one kingdom, the broken column 
 on which she is seated, referring to her former greatness, 
 and the lyre and palette to her excellence in the arts of 
 music and painting. 
 
 It was a matter of some difficulty to decide what 
 animal could be selected as most fit to form part of this 
 group ; the horse was suggested as being the animal most 
 used in Europe, but then the horse has his origin in 
 Arabia, and is now in use equally in all four continents. 
 The adoption of the horse would have necessitated an 
 entirely different treatment of the subject, perhaps his- 
 torical rather than allegorical. 
 
 ASIA.™ By John ITenry Eoley, E.A. 
 
 This group is placed on the South-East angle Pedestal. 
 
 In this group the central figure alone is a female. She 
 is seated on an elephant, and the action of removing her 
 veil is an allusion to the important display of the pro- 
 ducts of Asia, which was made at the Great Exhibi- 
 tion in 1851. 
 
 The prostrate animal is intended to typify the subjec- 
 tion of brute force to human intelligence ; and the sur- 
 rounding figures,— -viz. the poet of Persia with his pen 
 and writing-case; the art manufacturer of China holding 
 his specimen of porcelain ; the warrior of India or Cen- 
 tral Asia, with his weapons ; and the Arab merchant 
 resting on his camel saddle, with the Koran beside him 
 (he as a carrier forming the connecting link between the 
 Eastern and Western continents)- — all point to the prin- 
 cipal divisions of Asia and their respective positions in its 
 civilisation and power ; thus representing by these figures, 
 learning, industry, courage, and enterprise — the com- 
 bined elements of the national greatness of this quarter 
 of the globe. 
 
 The general feeling of repose which pervades this 
 group is also characteristic of a great continent over 
 which the tide of civilization has flowed ages ago, and of 
 which the renown of the individual countries rests more 
 on the acts and life of former times than on any pre- 
 sent action or movement. 
 
 AFEICA.— -By William Theed. 
 
 This group is placed on the North-East angle Pedestal. 
 
24 
 
 PRINCE CONSORT NATIONAL MEMORIAL. 
 
 The principle of its design is an embodiment of those 
 characteristics of race, which are peculiar to the past and 
 present history of Africa. 
 
 An Egyptian princess seated on a camel is the principal 
 figure ; Egypt having been the great early African 
 power, and the precursor of civilization. On her right 
 stands a Nubian, or inhabitant of the eastern limits of 
 this continent, his hand resting on a half-buried statue, 
 in allusion to the monumental glories of the past. On 
 her left is seated a figure representing the merchant of 
 the northern states of Africa, native productions and 
 objects of commerce being placed near him. The negro 
 leaning on his bow is the representative of the uncivi- 
 lized races of this continent : he is listening to teachings 
 of a female figure typifying European civilization, in 
 allusion to the efforts made by Europe to improve the 
 condition of these races ; the broken chains at his feet 
 refer to the part taken by Great Britain in the emancipa- 
 tion of the slaves. 
 
 The camel was chosen for this group ; it is indispen- 
 sable in the African deserts ; is used universally as a 
 means of communication by traders, and has at all times 
 been characteristic of Egypt. 
 
 AMERICA. — By John Bell. 
 
 This group is placed on the North-West angle Pedestal. 
 
 A geographical treatment has been here adopted. 
 
 The group consists of a central figure of America, as a 
 quarter of the globe, mounted on a bison, charging 
 through the long prairie grass. Their advance is directed 
 by the United States on the one side, while, on the other, 
 Canada attends them, pressing the Pvose of England to 
 her breast. In the other figures of the composition are 
 presented Mexico rising from a trance, and South Ame- 
 rica equipped for the chace. 
 
 The details and emblems are as follows : — The figure of 
 America is of the Indian type, and in native costume and 
 feathered head-dress, and the housings of the bison are a 
 grizzly bear’s skin. In her right hand is a stone-pointed 
 feathered lance, with Indian “ totems 55 of the grey 
 squirrel and humming-bird ; and on her left arm she bears 
 a shield with blazons of the pi^cipal divisions of the hemi- 
 sphere — the eagle for the States the beaver for Canada, 
 
THE EIGHT GROUPS OF SCULPTURE. 
 
 25 
 
 the lone star for Chili, the volcanoes for Mexico ; the 
 alpaca for Peru, and the southern cross for Brazil. In 
 the rear, aroused by the passage of the bison through the 
 grass, is a rattlesnake. 
 
 The features of the figure representing the United 
 States are of the North- American Anglo-Saxon civilized 
 type. Her tresses are surmounted by an eagle’s plume 
 and by a star, which is repeated on her baldrick, at 
 the point of the sceptre in her right hand, and on the 
 bracelet round her left arm ; in her left hand is a wreath 
 formed by leaves of the evergreen oak. At her foot lies 
 the Indian’s quiver, with but an arrow or two left in it. 
 Her dress is partly thin, and partly of a thicker texture, 
 to recall the great range of her climate. 
 
 In the presentation of Canada, who is habited in furs, 
 the features are of a more English type. In her head- 
 dress are woven the maple-leaf of the mainland and the 
 Mayflower of Nova Scotia. In her right hand are ears 
 of wheat, of which we receive from her such large sup- 
 plies, and at her feet are a pair of snow-shoes, and a 
 branch and cone of the pine-tree. 
 
 In these figures the attempt of the artist has been to 
 present three distinct types of womanhood. 
 
 The emblematic characteristics in the figure of Mexico 
 are his somewhat Aztec face, his Mexican head-dress, 
 staff, and feather cincture, and the cochineal cactus at 
 his feet. He rises, restless and disturbed, from his 
 panther’s skin, but yet looks forward with hope. 
 
 In the figure of South America is sought to be repre- 
 sented the half-breed type, Indian and Spaniard, and, 
 seated on a rock he is thus habited in sombrero and 
 poncho and Indian girdle, while in* his left hand is the 
 short horseman’s carbine of the country, and in his right 
 a lasso. By his side is an orchid of the forests of Brazil, 
 and at his feet a horn of the wild cattle of the plains, and 
 a blossom of the giant lily of the Amazon. 
 
 In the composition of this group, present progress and 
 general onward movement are expressed, and in this 
 respect it forms a contrast to the representations of the 
 other three continents, which are more tranquil in their 
 arrangement. 
 
26 PRINCE CONSORT NATIONAL MEMORIAL. 
 
 The Pour Upper Groups. 
 
 These represent the industrial arts of 
 
 AGEICULTUEE, MANUFACTUEES, COMMEECE, 
 
 ENGINEEEING. 
 
 AGEICULTUEE.— By W. Caller Marshall, E.A. 
 
 This group is placed on the South-West angle of the 
 Podium. 
 
 The principal figure, the genius of Agriculture, 
 crowned with a wueath of corn, is directing the attention 
 of the agriculturist to the improvements in agricultural 
 appliances which have been effected by the steam-engine 
 and chemistry ; she points from the primitive plough on 
 which he leans, to the steam cylinder and chemical retort 
 which are lying below. 
 
 The female figure seated to the left, with her lap full of 
 corn, bears witness to the results obtained by these 
 means ; on the right a shepherd -boy, with a lamb in his 
 arms and a ewe at his side, has reference to the rearing 
 and breeding of cattle. 
 
 MANUFACTUEES.— By TIenry Weekes, E.A. 
 
 This group is placed on the South-East angle of the 
 Podium. 
 
 The principal figure is the presiding genius of Manu- 
 factures, pointing to the beehive, as the emblem of 
 industry, and holding in her hand the hour-glass as indi- 
 cative of the value of time, an essential element in all 
 manufacturing operations. 
 
 The smith standing by her side, not only refers to the 
 importance of the iron manufactures of this country, but 
 also as affording in so many instances the means of 
 facilitating the task of the manufacturer. 
 
 On the other side is the weaver, and in front the 
 potter, the former exhibiting specimens of textile, the 
 latter of fictile manufactures. 
 
 COMMEECE.— By Thomas Thornycroet. 
 
 This group is placed on the North-East angle of the 
 Podium. 
 
 The dominant allegorical figure holds in her left hand 
 
SCULPTURES OF THE PODIUM. 
 
 27 
 
 a cornucopia, as alluding to the results of commercial 
 enterprise, whilst with the right she encourages the young 
 merchant, who bears balance scales, the emblems of 
 barter, and also a purse and ledger. The figure seated 
 on the ground in front brings corn, the great necessary of 
 life, and the other figure, the Oriental merchant, holds a 
 casket of jewels, in allusion to the objects of luxury 
 imported from various countries by the agency of com- 
 merce* 
 
 ENGINEERING. — By Joiiy Lawlor. 
 
 This group is placed on the North-West angle of the 
 Podium. 
 
 The genius of Engineering, a female figure, is standing 
 above the other figures, with one hand resting on the 
 steam cylinder. In front a youthful figure, with com- 
 passes in hand, refers to a design or plan spread on the 
 ground. On the one side is seated a navvy, the great 
 primary agent in all engineering operations, and on the 
 other side kneels a figure holding a cog-wheel, as indi- 
 cative of the development of the engineers’ art by means 
 of machinery. At the back of the group is shown the 
 steam-hammer, together with the blast furnace, and a 
 representation of the Britannia and Menai Bridges ; all 
 triumphs of engineering art of the present century. 
 
 THE SCULPTURES OF THE PODIUM.* 
 
 — 4— 
 
 A series of 169 portrait figures representing those men 
 who have excelled in the arts of Poetry and Music, 
 Painting, Architecture, and Sculpture. 
 
 The Poets and Musicians on the South front, and the 
 Painters on the East front, are executed by Mr. H. H. 
 Armstead. 
 
 The Architects on the North front, and the Sculptors 
 on the West front, are by Mr. J. B. Philip. 
 
 These two sculptors first prepared a model of the scale 
 of 1 inch to 1 foot, in which the personages to be repre- 
 sented were named, the grouping settled, and the general 
 principle of treatment thoroughly developed. A full- 
 
 * These Podinm sculptures arc all engraved in detail in the illustrated 
 folio history of the Memorial. 
 
28 
 
 PRINCE CONSORT NATIONAL MEMORIAL. 
 
 1 
 
 sized model was then made from which the marble could 
 be worked : as this model progressed it was removed to 
 the Memorial in sections, in order to be reproduced in the 
 marble which had been already fixed. The carving of the 
 figures in marble was commenced early in the year 1866. 
 
 In the preparation of the first models it became appa- 
 rent that a uniform principle of treatment could not be 
 satisfactorily carried out in representing the Poets, 
 Musicians, Architects, Sculptors, and Painters, who were 
 worthy of being sculptured on this frieze. In the arts of 
 architecture and sculpture an historical development may 
 be traced, in all countries in which they have been 
 practised, and the primary source from which these two 
 arts was derived seems to have been Egypt, the country 
 in whose monuments we have the earliest evidence of 
 regular civilization. 
 
 Mr. J. B. Philip has accordingly arranged the effigies of 
 the great masters of these two arts, by starting from a 
 group of Egyptian and Assyrian figures at the North- 
 West angle of his composition : each series of figures then 
 divergesnfrom this point over the northern and western 
 fronts of the Podium ; and models of works that have 
 been executed by these artists are occasionally placed 
 in their hands, or carved in low relief on the background ; 
 the progress of the two arts being thus in some measure 
 indicated by their monuments. The identity of the 
 individuals represented is also established by this means, 
 which is specially necessary, as so few authentic portraits 
 of early architects and sculptors exist, to which refer- 
 ence could be made. 
 
 The art of painting was stimulated and matured by the 
 talent of certain gifted individuals, who, with the assist- 
 ance of their pupils, founded schools in their own par- 
 ticular countries, and Mr. Armstead has therefore adopted 
 the principle of placing the masters of the Italian school 
 in the centre, whilst the painters of Germany and England 
 occupy one wing, and those of France and Spain the 
 opposite wing on the East front. 
 
 The Poets fill the centre compartment of the South 
 front, and on the wings on either side stand the figures of 
 musicians of all countries and periods. 
 
 The arrangement of the architects and sculptors may 
 be regarded as chronological, and that of the Painters, 
 Poets, and Musicians as geographical ; the natives of the 
 different countries being grouped together. 
 
SCULPTURES OF THE PODIUM. 
 
 29 
 
 SOUTH FRONT. 
 
 THE POETS AND MUSICIANS, 
 
 By H H. Armstead, 
 
 AUBER. 
 
 1. Daniel Francois Esprit Auber. Musician of the 
 French school : bom at Caen, 29 January, 1782 : was Maitre de 
 Chapelle to Louis Philippe, and to the Emperor Napoleon III. : 
 a commander of the Legion of Honour : director of the Conser- 
 vatoire at Paris. Produced his first opera in 1813 ; nearly all 
 his works were written for the stage. He died at Paris, 14 May, 
 1871. 
 
 i 
 
 MEHUL. 
 
 2. Etienne Henri Meh.nl. Musician of the French school : 
 bom at Civet in 1763 : was able to play the organ when ten 
 years of age : went to Paris at the age of sixteen : studied 
 under Hauser, Edelmann, and Gliick. Author of many operas, 
 &c.: professor of composition at the Conservatoire : member of 
 the Institute : and knight of the Legion of Honour. He died 
 Oct. 1817. 
 
 RAMEAU. 
 
 ’ 3. Jean Philippe Rameau. Musician of the French 
 school : bom at Dijon in 1683 : began to compose at the age of 
 eighteen, and was then appointed organist at Clermont in 
 Auvergne : afterwards went to Paris, where he was appointed 
 organist to the king. He was the author of several works on 
 the science of music, and composed several operas : he had great 
 facility of composition, and boasted, “QiTon me donne la ga- 
 zette d’Hollande, et je la mettrai en musique : ” a Dutch news- 
 paper must be the dullest conceivable libretto. He died 12 
 Sept. 1764. 
 
 LULLI. 
 
 4. Jean Baptiste Dulli. Musician of the French school : 
 born at Florence in 1634 of obscure parents : came to Paris as 
 page to Mademoiselle de Montpensier, niece of Louis XI V. : she 
 was so disappointed with his unprepossessing appearance, that 
 she made him under-scullion in her kitchen, there he devoted 
 much time to music and playing the violin : he was subse- 
 quently appointed court-musician, and organized a new band, 
 
30 
 
 PRINCE CONSORT NATIONAL MEMORIAL. 
 
 called “les petits violons,” from which Charles II. adopted the 
 idea of his “ four-and-twenty fiddlers all of a row.” Lull! 
 composed operas, church music, and many instrumental works. 
 He died at Paris, 22 March, 1687, and was buried in the church 
 of the Petits Peres, where his monument is still to be seen in a 
 chapel near the transept. 
 
 GRETRY. 
 
 5. Andre Ernest Modeste Gretry. Musician of the 
 French school: born at Liege in 1741 : went to Rome when 
 eighteen years old, and studied there under Casali : established 
 himself in Paris in 1767, and became a member of the Institute, 
 and professor at the Conservatoire. Voltaire and Marmontel 
 were his intimate friends. He composed several operas, and 
 also wrote a treatise on the science of music. After the Revo- 
 lution he became a zealous republican. He died at Montmo- 
 rency, 24 Sept. 1813. 
 
 JOSQUIN DES PRES. 
 
 6. Josquin des Pres. Musician of the Flemish school : 
 born about 1450. The father of modern harmony, and inventor 
 of counterpoint. He was a chorister at St. Quentin, and after- 
 wards went to Rome, where he entered the Pope’s chapel (he is 
 said by some to have become an ecclesiastic). He returned to 
 France in 1484, and was appointed Maitre de Chapelle to Louis 
 XII. He is believed to have died about the year 1515. Some 
 of his compositions, such as masses, nrotetts, and songs are to 
 be found amongst the music of Prince Henry (afterwards Henry 
 VIII.), now in the Pepsyian library: there is also a volume of 
 his works in the British Museum. 
 
 Ho trustworthy portrait of him is known to exist : a portrait 
 said to be of him formerly hung in the church of St. Gudule 
 at Brussels, but it has disappeared, and all search for it has 
 proved fruitless. 
 
 ROSSINI. 
 
 7. Gioacchino Rossini. Musician of the Italian school : 
 born at Pesaro in 1792 : he was first a chorister at Bologna, and 
 afterwards, having studied composition under Padre Mattei, he 
 commenced writing at an early age. His first opera appeared in 
 1812, and he continued to produce numerous works for the 
 stage until 1830. From that date until his death his pen was 
 less active. He passed the latter years of his life in Paris, and 
 died there on 13 November, 1868. 
 
SCULPTURES OF THE PODIUM. 
 
 31 
 
 MONTEVERDE. 
 
 8. Claudio Monteverde. Italian musical composer : born 
 at Cremona in 1565. He was for some years the Maestro di 
 Capella at St. Mark’s in Venice : he introduced several novelties 
 into the science of harmony, and is said to have invented recita- 
 tive. He died in September, 1649. 
 
 CARISSIMI. 
 
 9. G-iacomo Carissimi. Italian musical composer : born at 
 Padua in 1582. He became Maestro di Capella to the Pope, 
 and the German college at Rome, about the year 1640. His 
 compositions were chiefly for the church, such as motetts and 
 sacred cantatas. His oratorio of Jephtha marks an important 
 advance in that class of compositions. Purcell is believed to 
 have studied his works with much advantage. He lived to a 
 great age and died after 1672. 
 
 PALESTRINA. 
 
 10. Giovanni Pietro Aloisio da Palestrina. Italian 
 musical composer: born in 1524 of poor parents at Palestrina 
 (the ancient Praeneste in the Campagna) : he studied under 
 Goudimel : entered the Pope’s chapel in 1555 : was appointed 
 Maestro di Capella of Sta. Maria Maggiore in 1562, and of St. 
 Peter’s in 1571. He was a great master of choral harmony, and 
 wrote many masses, hymns, and madrigals. His contemporaries 
 called him “ the Prince of Music.” He died 2 February, 
 1594, and was buried in St. Peter’s with much pomp. 
 
 GUIDO D’AREZZO. 
 
 11. Guido. A monk of Arezzo, born about 990 a.d. The 
 founder of the present system of musical notation, and inventor 
 of the Solfeggio : Ut — Re — Mi— Fa— Sol - La, &c. ; having 
 adopted these syllables from the hymn 
 
 “ Ut quean t laxis 
 Resonare fibris,” &c. 
 
 When young he became a monk in the Benedictine monastery 
 at Arezzo. He went to Rome to explain his system of notation 
 to Pope John XIX., and afterwards retired to the abbey of 
 Pomposa near Ferrara, where he died : the date of his death is 
 not known. 
 
PRINCE CONSORT NATIONAL MEMORIAL, 
 
 ST. AMBROSE. 
 
 12. St. Ambrose. Bishop of Milan : born about 340 A.n. 
 Treves, Arles, and Lyons have all claimed to be his birthplace. 
 He was in early life a lawyer, but after having opposed the 
 Arian heresy in Milan, he was elected to be Bishop. St. Augus- 
 tine relates that he brought the Cantus Ambrosianus and anti- 
 phonal singing from Greece, and introduced its practice into his 
 cathedral at Milan. He was the father of the music of the 
 Western Church. He died 4 April, 397, and was buried at 
 Milan. 
 
 CORNEILLE. 
 
 13. Pierre Corneille. French dramatic poet: born at 
 Rouen, 6 June, 1606 : was educated in a Jesuit college : he 
 became a member of the French Academy in 1647 : has been 
 called the founder of the French drama : his most celebrated 
 works are “ Le Cid,” “China,” “Polyeucte,” “Les Horaces,” 
 &c. Fontenelle thus describes his appearance, “he was of a good 
 size, with a simple and ordinary presence, always negligent and 
 careless in his appearance ; his countenance was agreeable, he 
 had a large nose, handsome mouth, eyes full of fire, lively 
 expression, and strongly marked features.” He died 1 October, 
 1684. 
 
 MOLIERE. 
 
 14. Jean Baptiste Poquelin. French dramatic poet, and 
 the founder of French comedy : born at Paris, 15 January, 
 1622 : the son of an upholsterer, but became an actor, and 
 assumed the name of Moliere. Li is first comedy was produced 
 at Lyons in 1653. He went to Paris in 1658, and there opened 
 a theatre, at which his most famous comedies were produced. 
 He died 17 February, 1673, but in consequence of his con- 
 nection with the stage the last rites of the church were de- 
 nied to him : the King, however, prevailed on the Archbishop 
 of Paris to allow him to be buried privately by two priests, 
 without any chanting, in the cemetery of St. Joseph, Rue Mont- 
 martre. He is described as being “ neither stout nor thin; 
 somewhat above the average height, of noble carriage, and grave 
 expression ; his nose and mouth were large, his lips thick, his 
 eyebrows thick and dark ; he had a good figure and a well- 
 shaped leg.” 
 
 CERVANTES. 
 
 15. Miguel de Cervantes Saavedra. Spanish poet and 
 author: bom 29 September, 1547. The place of his birth has 
 
SCULPTURES OF THE PODIUM. 
 
 33 
 
 been a subject of much dispute, but it is now acknowledged to 
 be Alcala de Henares in New Castile. His early life was full of 
 adventure ; he went to Italy at the age of twenty-one, as page 
 to Cardinal Acquaviva ; afterwards enlisted in the Spanish army, 
 and served in the battle of Lepanto, where he lost liis left hand 
 and part of his arm ; returning to Spain, he was captured by 
 an Algerian pirate, and was sold as a slave in Algiers ; after six 
 years’ captivity he was ransomed and returned to Spain, in 1580. 
 He then began to write for the stage, but jealous of the success of 
 Lope de Vega, he subsequently devoted his pen more to romances, 
 poems, &c. His masterpiece, “ Don Quixote,” upon which his 
 world-wide reputation rests, was produced in 1605. Pecuniary 
 necessities pressed upon him at all periods of his life, and he 
 died in poverty at Madrid 23 April, 1616. He was buried 
 privately, and it is not known what became of his remains. In 
 a preface to his novels he thus describes himself: “Sharp, 
 aquiline visage, brown chestnut-coloured hair, forehead smooth, 
 eyes brisk and cheerful, nose somewhat bookish, mustachios 
 large, mouth little, body neither large nor little, somewhat 
 thick in the shoulders,” &c. 
 
 VIRGIL. 
 
 16. Publius Virgilius Maro. Latin poet : born at Audes 
 (now Pietola), a village near Mantua, in October, 70 B.c, He 
 studied at Cremona and Naples, and then went to Rome, where 
 he became acquainted with Mascenas. He was called the 
 “ Prince of Latin poets : ” his poem of the Georgies was written 
 by desire of the Emperor Augustus to stimulate agriculture in 
 Italy. His great work is the epic poem upon the wanderings of 
 AEneas, called the TEneid. Whilst in Greece he was seized with 
 illness, and on returning to Italy died at Brundusium 22 
 September, 19 b.c. : he was buried at Naples, where his tomb is 
 still to be seen on the road to Puteoli. He is described as i i tall 
 in figure, and of a swarthy complexion.” 
 
 DANTE, 
 
 17. Dante Alighieri. The greatest poet of modern Italy : 
 born at Florence in May, 1265 : studied at Bologna and Padua. 
 He belonged to the party of the Guelphs, and bore arms for his 
 country against the Aretini in 1289, and against the Pisans in 
 1290 : afterwards became a magistrate, but during the civil wars 
 of Florence, between the Bianchi and Neri, he was accused of a 
 criminal partiality for the former party, and in 1302 was sen- 
 tenced to exile, and the payment of a heavy fine : he sought 
 refuge at the courts of Ghibelline princes at Arezzo, Verona, 
 Padua, &c. ; but his determined and sarcastic character raised 
 
 D 
 
34 
 
 PRINCE CONSORT NATIONAL MEMORIAL. 
 
 up for him continual enemies. His immortal works are the 61 In- 
 ferno,” “Purgatorio” and “Paradiso:” he also wrote sonnets and 
 other poetry. He ultimately settled at Ravenna, and died 
 there 14 September, 1321. A mausoleum for his remains was 
 erected in 1482 by Bernardo, the father of Cardinal Bembo. An 
 authentic cast taken from his face is still preserved. 
 
 PYTHAGORAS. 
 
 18. Pythagoras of Samos. A celebrated Greek philo- 
 sopher : born at Samos about 570 B.c. He is said to be the 
 founder of the theory of music, reduced it to mathematical 
 principles, and gave names to the various tones. He made dis- 
 coveries in music, astronomy, and mathematics. One of his 
 theories was the “Harmony of the Spheres that the relative 
 distances of heavenly bodies corresponded with the laws of 
 musical harmony, and that by their movements certain sounds 
 were produced which formed a regular harmonic scale. 
 
 HOMER. 
 
 19. Homer. The greatest poet of Greece, and the father of 
 poetry. His birth, parentage, and native country are uncertain ; 
 he is believed to have lived about 900 b.c., and to have been an 
 Asiatic Greek, but it is not certainly known where he lived or 
 where he died. He is said to have died at an advanced age, 
 and to have been blind in his later years. His epic poems are 
 the “ Iliad” and the “Odyssey.” 
 
 CHAUCER. 
 
 20. Geoffrey Chancer. The father of English poetry : 
 born in 1345 : studied at Oxford and Cambridge, and was after- 
 wards attached to the court of Edward III. John of Gaunt 
 was also his patron, and he was appointed to several sinecure 
 offices, such as clerk of the works at Windsor, Westminster, 
 and other royal palaces. He was a friend and follower of Wick- 
 litfe, and, being involved in some Wickliffite disturbances, was 
 compelled to leave London, and retire to Woodstock. There 
 he wrote his famous “Canterbury Tales.” He returned to 
 London shortly before his death, and resided at Westminster in 
 a house which stood on the site of Henry VI IPs Chapel ; there 
 he died 25 October, 1400, and was buried in the Abbey ; his 
 present monument was erected in 1551. 
 
 SHAKESPEARE. 
 
 21. William Shakespeare. England’s greatest dramatic 
 poet : born at Stratford-on-Avon in April, 1564. But little is 
 
SCULPTURES OF THE PODIUM. 
 
 35 
 
 known with certainty of liis life. He was educated at the 
 Grammar School at Stratford : went to London, and became an 
 actor and author of plays. In 1589 he was a shareholder in the 
 Globe and Blackfriars Theatres. He is believed to have acted 
 Knowell in Ben Jonson’s “Every Man in his Humour;” the 
 Ghost, in “Hamlet and Old Adam, in “As You Like It.” 
 He died 23 April, 1616, and was buried on the north side of 
 the chancel of the parish church at Stratford-on-Avon. 
 
 MILTON. 
 
 22. John Milton. English poet : bom in Bread Street, 
 
 London, 9 December, 1608, was educated at St. Paul’s School 
 and Christ’s College, Cambridge : travelled on the Continent 
 in 1638. In 1649 he was appointed Latin secretary to Crom- 
 well’s Government, and in that capacity wrote many poli- 
 tical works. His sight failed him in 1651, and he soon became 
 quite blind : in 1667 he produced “Paradise Lost,” and with 
 much difficulty found a publisher ; he sold the manuscripts to 
 Samuel Simmons for £ 5 . “ Paradise Regained ” and “Samson 
 
 Agonistes” appeared in 1671. He died 8 November, 1674, 
 and was buried in the chancel of St. Giles, Cripplegate. He is 
 described as somewhat below the middle size, but vigorous and 
 active ; his light-brown hair, parted down the middle, hung 
 over his shoulders. 
 
 GOETHE. 
 
 23. Johann Wolfgang 1 von Goethe. The great poet of 
 Germany : born at Frankfort, 28 August, 1749 : studied at 
 Leipzig, and afterwards at Strassburg : settled at Weimar in 
 1775, and remained there for upwards of fifty years as the coun- 
 sellor and friend of the Grand Duke. He was not only a poet, 
 dramatist, and novelist of great intellectual power, but was 
 skilled in natural science. His friendship with Schiller, in 
 spite of the disparity of their ages, was very sincere and stead- 
 fast. When Schiller died he said, “ The half of my existence is 
 gone from me.” He died at Weimar, 22 March, 1832, and 
 was buried near Schiller. 
 
 SCHILLER. 
 
 24. Johann Christoph Friedrich von Schiller. German 
 poet and dramatic writer : born at Marbach, 10 November, 
 1759. He studied medicine, and having a leaning for a military 
 life, he became a regimental surgeon at Stutgardt. His first 
 drama, “The Robbers,” was produced in 1782 ; and, having 
 offended the Duke of A7urtemburg by some free expressions in 
 
PRINCE CONSORT NATIONAL MEMORIAL. 
 
 S'* r* 
 
 00 
 
 it, lie fled from Stutgardt, and went to Mannheim. He after- 
 Wards lived at Leipzig, Dresden, and Jena. In 1787 he went to 
 \Veimar, and soon became the intimate friend of Goethe. He 
 died of disease of the lungs 9, May, 1805. When the sculptor 
 Dannecker heard of his death, he said, “ I will now make a bust 
 the size of life, that is, colossal.” This bust is now in the 
 public library at Weimar. 
 
 BACH. 
 
 25. Johann Sebastian Bach. German musical composer : 
 born at Eisenach, 21 March, 1685. He was the most cele- 
 brated of a family of musicians : he was flrst a chorister at 
 Luneburg : then organist and director of concerts at Weimar : 
 kapellmeister to the Prince of Anhalt-Coethen: and finally cantor 
 of the St. Thom as School at Leipzig. He was very famous as 
 an organist, a great master of counterpoint, and wrote many 
 oratorios, motetts, and compositions for the organ and harpsi- 
 chord. He was twice married, and had twenty children ; his 
 eleven sons were all distinguished musicians. In his latter 
 years lie became blind. He died in July, 1750. 
 
 GLUCK. 
 
 26. Christoph Gluck. German musician : born at Weiden- 
 wanger, in Bavaria, in 1714 : studied at Vienna : went to Italy 
 in 1736, and there took lessons of the celebrated Padre Martini. 
 His flrst opera was produced at Milan in 1741, and after 
 remaining some time in Italy, he came to England in 1745, and 
 composed an opera in honour of the Duke of Cumberland, 
 called “La Caduta dei Giganti.” He then returned to Vienna, 
 and there wrote his masterpieces, “ Orfeo,” “Alceste,” “ Iplii- 
 genia,” &c. In 1776 he visited Paris, and his admirers and 
 those of Picini, a rival Italian composer, divided all Paris into 
 the parties of the Gluckists and Picinists. Dr. Burney calls him 
 the “ Michael Angelo of music.” He returned to Vienna, and 
 died there 25 November, 1787. He is described as large in 
 person, and rough and blunt in manners. 
 
 HANDEL. 
 
 27. George Frederick Handel. German musician : bom 
 •at Halle, 24 February, 1684-5 : he was intended for the law, 
 but his father finding his passion for music very great, per- 
 mitted him to study under Zachau, the organist at Halle. He 
 was able to play when nine years old, and soon commenced to 
 compose. He resided at Hamburg from 1703 to 1709, and then 
 visited Italy. He came to England in December, 1710, and 
 
SCULPTURES OF TTIE PODIUM. 
 
 37 
 
 there passed the remainder of his life. He wrote many 
 operas for the Italian stage, but his grandest works are his ora- 
 torios and similar sacred compositions. Like Bach, he became 
 blind some years before his death, which took place on 14 
 April, 1759." He was buried with much ceremony in West- 
 minster Abbey. 
 
 MOZART. 
 
 28. Johann Chrysostom Wolfgang* Amadeus Mozart. 
 
 German musician : born at Salzburg, 27 Jan., 1756 : began to 
 study music when only four years of age : when eight years old 
 he was brought to England by his father and played before 
 George III., at the Chapel Royal : he afterwards went to France 
 and Italy. His first opera was produced at Milan in 1770. He 
 ultimately settled at Vienna, where he passed the rest of his 
 short life. He wrote operas, masses, symphonies, &c., his last 
 great work, “ The Requiem Mass,” was left unfinished at his 
 death. He died 5 Dec., 1791, and was buried in the Marxer- 
 linie Cemetery at Vienna, near his friends Haydn and Albrechts- 
 berger, but no stone marked the spot, and the exact place is now 
 uncertain. 
 
 MENDELSSOHN. 
 
 29. Felix Mendelssohn Bartholdy. German musician : 
 born 3 Feb., 1809 : showed great talent at an early age : per- 
 formed at a public concert at Berlin when nine years old : 
 studied under Zelter and Berger : visited England, France, 
 Italy, Switzerland, &c. In 1834 was appointed Kapellmeister 
 at Diisseldorf ; he also held similar appointments at Berlin and 
 Leipzig. Author of many works, both vocal and instrumental : 
 his most important compositions are his symphonies, and the 
 oratorios of “St. Paul” and “Elijah.” He died 8 Nov. 1847, 
 and was buried at Berlin. 
 
 HAYDN. 
 
 30. Joseph Haydn. German musician : born at Rolirau 
 in Austria, 31 March, 1732. When a boy he entered the 
 choir of St. Stephen’s Cathedral at Vienna : studied under 
 Porpora, and after many years of struggling poverty, he became 
 acquainted with Prince Esterhazy, who made Haydn the direc- 
 tor of his private band. He was a voluminous composer, and is 
 celebrated for the beauty and simplicity of his style. The ora- 
 torio of “The Creation,” and the cantata, “The Seasons,” are 
 well-known works, but his chief compositions are instrumental, 
 viz., symphonies, quartetts, &c. He visited England twice, in 
 1790 and 1794. He lived chiefly at Vienna, and died there on 
 31 May, 1809, whilst that city was occupied by the French. 
 
38 
 
 PRINCE CONSORT NATIONAL MEMORIAL. 
 
 WEBER. 
 
 31. Carl Maria von Weber. German musician : born at 
 Eutin in Holstein, 18 Dec., 1786 : studied under Michael 
 Haydn, Abbe Vogler, and other masters : went to Breslau, and 
 afterwards to Oarlsruhe as Kapellmeister ; finally settled at 
 Dresden in 1816 as director of the Opera there. His principal 
 works are the operas of “ Der Freischiitz,’’ “Gberon,” “ Pre- 
 eiosa,” “ Euryanthe.” In 1826 he visited England, and wrote 
 “ Oberon ” for Covent Garden Theatre. He died of consump- 
 tion, 5 June, 1826, at the house of Sir G. Smart, in Great 
 Portland Street, and was buried in the vaults of the Roman 
 Catholic Chapel in Moorfields. His body was removed to Dres- 
 den in 1844. 
 
 BEET HO YEN. 
 
 32. Ludwig* van Beethoven. German musician : born at 
 Bonn, 17 Dec., 1770. His father was a tenor singer at Cologne : 
 when quite young he was able to play the violin, and also diffi- 
 cult compositions by Bach on the pianoforte : before the age of 
 fourteen, he had published several compositions for the piano- 
 forte. He went to Vienna in 1790, and studied under Haydn 
 and Albrechtsberger. Mozart at once recognised his great 
 genius. He subsequently settled at Vienna : his life was passed 
 in much retirement, and he suffered much from ill health, 
 having become totally deaf in his later years. He died 26 
 March, 1827, and 30,000 persons attended his funeral. A 
 statue by Hahn el, was erected to his memory at Bonn in 1845, 
 but his grandest monument are his nine orchestral symphonies. 
 His single opera “Fidelio,” was produced in 1805. 
 
 TALLIS. 
 
 33. Thomas Tallis. English musician : born about 1529 : 
 lie is called “the father of the collegiate style of music. ” He 
 was organist to Queen Elizabeth, and harmonised the cathedral 
 service, the melody of which was first adapted to English words 
 by Marbeck. Several secular compositions by him are still ex- 
 tant, amongst vdiich a madrigal in forty parts is the most curi- 
 ous. He died 23 Nov., 1585, and was buried in the old 
 parish church of Greenwich : this church was pulled down in 
 1720, and no memorial of Tallis now remains. No authentic 
 portrait of him is known to exist. 
 
 GIBBONS. 
 
 34. Orlando Gibbons. English musician : was born in 
 1583, appointed organist of the Chapel Royal at the age of 21, 
 
SCULPTURES OF THE PODIUM. 
 
 89 
 
 and in 1622 he received the degree of Doctor of Music at the 
 University of Oxford. His chief compositions were for the 
 Church, but he also wrote madrigals, &c. In 1625, he was 
 ordered to go to Canterbury, to attend the marriage of Charles 
 I., for which ceremonial he had composed the music ; when 
 there he caught the small-pox, and died on Whit Sunday, 
 5 June, 1625. His portrait is copied from the effigy on the 
 tomb at Canterbury, which was erected by his wife. 
 
 LAWES. 
 
 35. Henry hawes. English musician : born at Salisbury 
 in 1600 : was gentleman of the Chapel Royal to Charles I. : 
 studied under Coperario, and is said to have first introduced 
 Italian music into England. He published several collections 
 of songs, was a friend of Herrick, Waller, and other poets, and 
 set many of their poems to music. He also ‘ ‘ called Milton 
 friend, ” and composed music for 4 ‘ Comus, ” he himself taking part 
 in its performance at Ludlow Castle. During the Common- 
 wealth he supported himself by giving lessons in singing. At 
 the Restoration he was re-appointed to the Chapel Royal, and 
 composed the anthem for the coronation of Charles II. He died 
 21 Oct., 1662, and was buried in the cloisters of Westminster 
 Abbey, but the exact spot is not known. 
 
 PURCELL. 
 
 36. Henry Purcell. English musician : born 1658 : was 
 a chorister boy in the Chapel Royal, and at the age of eighteen 
 was appointed organist of Westminster Abbey. He was in- 
 structed by Pelham-Humphreys, and Dr. Blow, and in 1682 he 
 became organist of the Chapel Royal. He was at first known 
 by his anthems ; but he is remarkable for the great variety of 
 his compositions, having written operas, anthems, overtures, 
 songs, madrigals, &c. He died 21 Nov., 1695, and was buried 
 in the north aisle of the choir of Westminster Abbey, where 
 a tablet to his memory bears an inscription from the pen of 
 Dryden. 
 
 ARNE. 
 
 27. Thomas Augustine Arne. English musician : born 
 28 May, 1710 : the son of an upholsterer in King Street, Covent 
 Garden. He went to school at Eton, and was intended for the 
 law, but his love of music (which his father had endeavoured to 
 check), prevailed, and after three years he abandoned his legal 
 studies. He learned the violin, and soon began to compose for 
 the stage. He wrote many operas, amongst which “Artaxerxes” 
 
40 PRINCE CONSORT NATIONAL MEMORIAL. 
 
 was tlie most celebrated. He was also a song writer, and set 
 music to Milton’s “Comus.” The national air of “ Rule Britan- 
 nia” is by Arne : it is a chorus in “ King Alfred,” a masque 
 composed for an entertainment given by Frederick Prince of 
 Wales, at Cliefden in 1740 : the words were written by Thom- 
 son and Mallet. He died 5 March, 1778, and was buried in 
 St. Paul's, Covent Garden. 
 
 BOYCE. 
 
 38. William Boyce. English musician : born 7 Feb., 
 1710 : the son of a cabinet-maker in London : he was first a 
 chorister at St. Paul’s Cathedral : and studied under Greene. 
 In 1736 he was appointed organist at St. Michael’s : took the 
 degree of Doctor of Music, and, shortly after, succeeded Greene 
 as composer and organist to the Chapel Royal. He wrote some 
 secular pieces, but his chief compositions were anthems and 
 sacred music. He revised and published an admirable collec- 
 tion of the cathedral music of other composers. He died 7 
 Feb., 1779, and was buried in St. Paul’s Cathedral. 
 
 BISHOP. 
 
 39. Sir Henry Bowley Bishop. English musician : 
 born in London in 1786 ; studied under Bianchi : was a very 
 voluminous writer, both for the stage and the concert- room. 
 His first opera, “The Circassian Bride,” was produced at Drury 
 Lane Theatre in 1809 ; but the theatre being burnt down after 
 the performance, the whole MSS. were destroyed. In 1810 he 
 was appointed director of the music at Covent Garden Theatre. 
 He was knighted in 1842, and in. 1848 was appointed professor 
 of music at Oxford in succession to Dr. Crotch. He died on 30 
 April, 1855, and was buried in Kensal Green Cemetery. 
 
 EAST EEONT. 
 
 THE PAINTERS, 
 
 By H. H. Armstead. 
 
 TURNER. 
 
 10. Joseph Mallord William Turner. English painter : 
 born 23 April, 1775 : son of a hair-dresser in Maiden Lane, 
 
SCULPTURES OF THE PODIUM. 
 
 41 
 
 Covent Garden : became a student at the Royal Academy 
 in 1789: exhibited his first picture (“Lambeth Palace”) 
 in 1790: was elected an Academician in 1802: travelled 
 on the continent, and visited France, Italy, and Switzer- 
 land. He painted in water-colours as well as in oil, 
 and published a “Liber Studiorum,” in imitation of Claude’s 
 “Liber Yeritatis.” He was a short stout man, with much 
 colour in his face, and looked rather like a sailor. He 
 died at Chelsea, 19 December, 1851, and bequeathed his large 
 fortune, and his collection of pictures and drawings, to the 
 nation. He was buried in St. Paul’s Cathedral near Sir 
 J oshua Reynolds. 
 
 WILKIE. 
 
 Ho. 41. Sir David Wilkie. British painter : born at Cults, 
 in Fifeshire, 18 November, 1785. Having first studied in the 
 “Trustees’ Academy” at Edinburgh, he came to London in 
 1805, and entered as a pupil at the Royal Academy. He 
 exhibited his first picture in 1806, and afterwards painted many 
 popular pictures, viz. : “Blind Fiddler,” “ Village Festival,” &c. 
 He was appointed an Academician in 1811. In 1826 he visited 
 France, Germany, Italy and Spain, and then changed his 
 style of painting. After the death of Sir Thomas Lawrence in 
 1830, he was nominated painter to the King: he was knighted 
 in 1836. He went to Constantinople to paint the portrait of 
 the Sultan, and whilst returning to England he died, and was 
 bulled at sea, off Gibraltar, on 1 June, ls41, 
 
 REYNOLDS. 
 
 No. 42. Sir Joshua Reynolds. English painter : born 16 
 July, 1723, at Plympton, of which place his father was the rector : 
 studied under Hudson, and became a portrait painter, first at 
 Plymouth and afterwards in London. He travelled in Italy and 
 other foreign countries during 1751 and 1752, and on his return 
 he became the first portrait painter of the day. On the founda- 
 tion of the Royal Academy in 1768 he was appointed the first 
 president, and was knighted. He was a friend of Johnson, Gold- 
 smith, Burke, Garrick, &c. In 1784 he was appointed principal 
 painter to the King. He died, at his house in Leicester Square, 
 on 23 Feb. 1792, and was buried in St. Paul's Cathedral. 
 
 GAINSBOROUGH. 
 
 No. 43. Thomas Gainsborough. English painter : born 
 at Sudbury in 1727 : painted much from nature when young: 
 came to London in 1743, and studied under Hayman : after- 
 
42 
 
 PRINCE CONSORT NATIONAL MEMORIAL. 
 
 wards settled for some years at Ipswich as a portrait painter : 
 in 1760 he removed to Bath, but he returned to London in 1774, 
 and was elected one of the first members of the Royal Academy. 
 He was a painter of landscape, and rivalled Reynolds in portrait 
 painting. There are many fine works by him at Hampton 
 Court, Windsor Castle, and in the National Gallery. He died 
 2 Aug. 1788, and was buried in Kew churchyard. He is 
 described as handsome, of a fair complexion, regular features, 
 tall and well proportioned. His forehead, broad and strongly 
 marked : his nose, Roman : his mouth and eye denoted humour 
 and refinement, and the general expression of his face was 
 thoughtful, yet not altogether pleasant. 
 
 HOGARTH. 
 
 44. William Hog’arth. English painter : born in London, 
 10 December, 1697, of poor parents : was apprenticed to 
 Gamble, a silversmith, and commenced life as an engraver for 
 silversmiths and booksellers. He married the daughter of Sir 
 James Thornhill in 1730, and then commenced to paint por- 
 traits. He soon afterwards adopted a special style, and produced 
 those celebrated series of pictures, 4 ‘ Rake’s Progress,” “Mar- 
 riage a la M ode/’ 4 4 H arlot’s Progress, ” &c. , which gained him the 
 title of 44 pictorial satirist.” He had great technical excellence 
 as a painter ; he also engraved many of his own pictures. In 
 1757 he was appointed principal painter to the King. He died 
 26 October, 1764, in Leicester Square, and was buried at 
 Chiswick. The terra-cotta bust by Roubiliac, now in the Na- 
 tional Portrait Gallery, is the foundation of the present portrait. 
 His well-known dog is shown at his side. 
 
 n 
 
 REMBRANDT. 
 
 45. Rembrandt van Rhyn. Dutch painter : born 15 
 June, 1606 : the son of a miller: studied under Swaneburg, 
 Eastman, Pinas, and other masters : settled in Amsterdam in 
 1630, and passed the greater part of his life there. He painted 
 landscapes, portraits, and genre subjects : he was a great 
 colourist, and specially remarkable for his profound knowledge 
 of chiaroscuro. The National Gallery contains many pictures 
 by him. His etchings, numbering upwards of 400, are master- 
 pieces of facility and boldness of style. He died at Amsterdam 
 in October, 1669, and was buried in the Wester Kerk there. 
 
 RUBENS. 
 
 46. Sir Peter Paul Rubens. Flemish painter : born at 
 Siegen, in Westphalia, 29 June, 1577 : lived at Cologne 
 
SCULPTURES OF THE PODIUM. 
 
 43 
 
 till 1588, when lie went to Antwerp, and studied under Van 
 Veen : lie also visited Venice and other parts of Italy, Spain, 
 France, and England. He had great diversity of talent, and 
 was a most prolific painter of portraits, landscapes, animals, 
 historical subjects, &c. Visited England and Spain as a diplo- 
 matist as well as an artist. He was knighted by Charles I. 
 He was tall, majestic, and handsome, and lived like a prince. 
 He died at Antwerp, 80 May, 1 G 10. and was buried in the 
 Church of St. Jacques there. 
 
 HOLBEIN. 
 
 47. Hans Holbein. German painter : born at Augsburg, 
 in 1494 or 1495 : son of a painter of the same name : studied 
 under his father, and also under Burgkmair. When fifteen 
 years of age he had already painted several important pictures. 
 Went to Basle in 1516, and remained there until 1526, when he 
 came to England with a letter of introduction from Erasmus to 
 Sir Thomas More. He passed the rest of his life in England, 
 except the years 1529, 1530, and 1531, which he spent at Basle 
 whilst completing several works. In 1532 he was presented to 
 Henry VIII., and shortly after he was appointed painter to His 
 Majesty. He died in London of the plague, in November, 
 1545, and was buried in St. Catherine Cree Church. He was 
 specially celebrated as a portrait painter, and his works in Eng- 
 land are very numerous. He furnished fanciful designs for 
 goldsmiths’ work, and designed the present gateway and chapel 
 of St. James’s Palace ; also the gateway and other portions of 
 Whitehall now destroyed. 
 
 DURER. 
 
 48. Albrecht Durer. German painter : born at Nurem- 
 berg, 21 May, 1471. His father was a goldsmith : he studied 
 painting under Martin Sclioen and Wohlgemuth : he then 
 travelled through several countries, and his diaries, which 
 are still extant, are extremely curious and interesting. He 
 visited Venice, and there made the acquaintance of Giovanni 
 Bellini : he also went to Bologna, and there saw Raphael. On 
 his return to Germany, he was appointed painter to the Em- 
 peror Maximilian, and afterwards to Charles V. He was an 
 engraver on copper and on wood, and his engravings and draw- 
 ings, as well as his paintings, are very numerous. He also 
 wrote several treatises on art and science. He was the friend of 
 Melanchthon, and a Protestant. He died at Nuremberg, 6 April, 
 1528. 
 
44 
 
 PRINCE CONSORT NATIONAL MEMORIAL. 
 
 HUBERT AND JOHN VAN EYCK. 
 
 49 and 50. Hubert and John van Eyck. Flemish painters : 
 were both horn at Maas Eyck — Hubert in 1366, and John about 
 1390. To them is attributed the invention of oil-painting, and 
 they, at any rate practically developed it, and showed its capa- 
 bilities with great technical skill. Their chief work is the 
 picture of the ‘ ‘ Adoration of the Lamb,” the centre compart- 
 ment of which is at Ghent ; other portions of it are in the 
 Berlin Museum. This picture was designed by Hubert, but 
 painted by both brothers. In accordance with the custom of 
 the period, they introduced their own portraits into the picture, 
 and these portraits have been referred to by Mr. Armstead on 
 the present occasion. They resided at Ghent and at Bruges, 
 where they established a school of painting. Hubert died at 
 Ghent, 18 September, 1426, and was buried in the vault of 
 the Vydt family, in St. Bavon’s Church. John died at Bruges, 
 9 July, 1440. 
 
 STEPHEN OF COLOGNE. 
 
 51. Stephan Lockner, or Meister Stephan von Koln. 
 
 German painter : the dates of his birth and death are uncertain. 
 He was born at Constance, and afterwards settled at Cologne. 
 His best known work is the celebrated altar-piece of the “ Ado- 
 ration of the Kings,” now in the Cathedral at Cologne. This is 
 dated 1410, and the picture is mentioned in Albert Dtirer’s 
 diary. There is a small picture by him in the National 
 Gallery. 
 
 CIMABUE. 
 
 52. Giovanni G-ualtieri, of the Family of Cimabue. 
 
 Italian painter : born at Florence in 1240. He has been called 
 the father of modern painting, having revived the art, and, by 
 the study of nature, endeavoured to release it from the stiff, 
 traditional style of the Greek or Byzantine school. He is said 
 to have studied under Giunta of Pisa. He painted in fresco 
 and in tempera. Two well-authenticated pictures by him are 
 still at Florence, and his portrait, painted by Simone Memmi, is 
 in the Church of Santa Maria Novella. He died about 1302, 
 and was buried in Santa Maria del Fiore. 
 
 ORCAGNA. 
 
 53. Andrea di Clone, called 4 4 I/Arcagnulo,” contracted 
 into “Orcagna.” Italian painter : the date of his birth is not 
 known, probably about 1315 : he was the son of Cione, a Flo- 
 rentine goldsmith. He was a painter, architect, and sculptor, 
 
SCULPTURES OF TH PODEIUM. 
 
 45 
 
 having studied the art of sculpture under Andrea Pisano : as an 
 architect, he built the Loggia dei Lanzi, and the monastery of 
 Or San Michele at Florence. He painted in fresco and in tem- 
 pera : some of his works still remain, in the Campo Santo at 
 Pisa, in the Strozzi chapel, Santa Maria Novella, and Or Sail 
 Michele at Florence. In a mezzo relievo behind the high altar 
 in the latter church he has introduced his own portrait, as one 
 of the Apostles, wearing a hood. The National Gallery contains 
 some pictures by this master. He died at Florence about 1376. 
 
 GIOTTO. 
 
 54. Ambrogiotto di Bondone. Italian painter and archi- 
 tect : born at Vespignano in 1276. He was employed as a 
 shepherd-boy, and was found by Cimabue attempting to draw the 
 figures of the sheep on a stone : Cimabue afterwards instructed him 
 in drawing and painting. “Giotto,” says Vasari, “resuscitated 
 art, and freed it from the stiff Byzantine manner, introducing 
 the art of accurately drawing persons from nature, which had 
 not been used for 200 years.” Some of his fresco paintings still 
 remain at Padua, Assisi, Florence, Pisa, &c. As an architect 
 he continued the building of the Cathedral of Florence, and 
 designed the Campanile, which was afterwards completed by 
 Taddeo Gaddi. Dante and Petrarch were Ins friends, and his 
 portrait of the former is still to be seen at Florence. He is 
 described as small, and ugly in person. His name is an Italian 
 diminutive for Ambrose. 
 
 FRA ANGELICO. 
 
 55. Fra Giovanni Angelico da Fiesole, called also “'ll 
 Beato.” Italian painter: born at Castello di Vicchio in the 
 Mugello, in 1387 : lie was a friar of the Dominican order ; illu- 
 minated missals, and painted in tempera and fresco. He visited 
 Foligno and Cortona, and painted there ; and in 1436 he went 
 to Florence, where he executed his most important works in the 
 convent of St. Mark. In 1445 he visited Rome, and painted 
 in the chapel of Nicholas V. He painted religious subjects, 
 and his figures are remarkable for their simple grace and reli- 
 gious sentiment. He prepared himself for every undertak- 
 ing by prayer, and asked the benediction of Heaven on his 
 work. Whilst painting the figure of the Virgin he always 
 knelt. Some of his pictures are to be seen in the National 
 Gallery, and the Louvre possesses a fine specimen. He died at 
 Rome in 1455, and was buried in the church of the Minerva, 
 near the door of the sacristy. His portrait, taken from the life, 
 is on his tomb. 
 
46 
 
 PRINCE CONSORT NATIONAL MEMORIAL. 
 
 GHIRLANDA JO. 
 
 56. Domenico Blgordi, called u Ghirlandaio. 55 Italian 
 painter : bom at Florence in 1449. He was the son of Tom- 
 maso del Gliirlandajo (Thomas, the garland-maker), a goldsmith, 
 who made gold and silver wreaths and ornaments. He studied 
 under Baldovinetti, and painted in fresco and tempera. His 
 finest works are in the churches of the Trinita and Santa Maria 
 Novella at Florence : he has introduced his own portrait into 
 one of the frescoes in the latter church. He was invited to 
 Rome by Sixtus IV. and painted two frescoes in the Sistine 
 Chapel. His labours conduced greatly to the advancement of 
 art : he is said to have been the master of Michael Angelo. He 
 died at Florence in 1498, and was buried in Santa Maria 
 Novella. 
 
 MASACCIO. 
 
 57. Tommaso Guicli, called “ Masaccio 5 ’ (big or slovenly 
 Tom). Italian painter : born at San Giovanni in the Val d’Arno 
 in 1402 : studied under Masolino di Panicale. His principal 
 works are in Florence, in the Brancacci chapel of the Church of 
 the Carmine, and represent the history of St. Peter. He also 
 painted frescoes in the Church of San Clemente at Rome. He 
 was an artist of great original powers, and his works mark an 
 epoch in the history of painting : his figures are simple and 
 dignified : Raphael copied some of them. He died in 1443 : his 
 friend Brunelleschi, who had taught him perspective, was 
 greatly grieved at his death. He was buried in the Church of 
 the Carmine. A portrait b}^ his hand, said to be his own like- 
 ness, is in the Gallery at Florence. 
 
 L. DA VINCI. 
 
 58. Leonardo da Vinci. Italian painter : born at Vinci 
 in the Val d’Arno in 1452. One of the greatest artists of the 
 15tli century, or of any period : painter, sculptor, architect, 
 poet, musician, and investigator of natural science. He was a 
 pupil of Verrocchio, and the founder of the Milanese school of 
 painting. His most famous work is the “Cenacolo,” or Last 
 Supper, in the Convent of Santa Maria della Grazie, at Milan. 
 He also painted several pictures in oil, amongst which is his own 
 portrait, now in the Gallery at Florence. He visited Rome and 
 Florence, and in 1517 went to France, and lived there under the 
 patronage of Francis I. He died at Cloux, near Amboise, 2 
 May, 1519. He was the author of several treatises on art. 
 Many of his drawings are still in existence, and valuable manu- 
 script memoranda by him on scientific and artistic subjects are 
 preserved at Milan, Baris, Florence, Windsor Castle, &c. 
 
SCULPTURES OF THE PODIUM. 
 
 47 
 
 RAPHAEL. 
 
 59. Haffaello Sanzio. Italian painter : born at Urbino in 
 1483 : the greatest painter and founder of the Roman school : 
 was the son of a painter : studied under his father, and also 
 under Perugino. He began to paint when quite young, and was 
 already celebrated as an artist before he was twenty years of age. 
 He painted at Perugia : went to Florence in 1504, and studied 
 there with Fra Bartolomeo : visited Bologna in 1506, and there 
 became intimate with Francia. He settled at Rome in 1508, and 
 w T as constantly employed by the Popes, decorating the Vatican, 
 &c. He was also appointed architect of St. Peter’s after the 
 death of Brain ante. His admirable pictures of the Madonna and 
 Holy Family are well known by engravings, &c. Seven of the 
 cartoon designs for tapestry prepared by him for the walls of 
 the Sistine Chapel are now to be seen in the South Kensington 
 Museum. His Royal Highness the Prince Consort formed a 
 most extensive collection, illustrative of the works of Raphael: 
 it is at Windsor Castle, and is contained in upwards of fifty 
 large folio volumes. Raphael died at Rome 6 April, 1520, and 
 was buried with much ceremony in the Pantheon : liis remains 
 were seen in 1833 when his tomb was opened. 
 
 MICHAEL ANGELO. 
 
 60. Michael Angelo Buonarotti. Italian painter, sculp- 
 tor, architect, and poet : born at Caprese in Tuscany, 6 March, 
 1474-5. At an early age he entered the studio of Ghirlandajo, 
 and soon after he went to Rome, and there produced several 
 works in sculpture. He was an artist of grand and sublime 
 genius, of profound intellect, and powerful feeling. His know- 
 ledge of the human figure was unsurpassed. The ceiling and 
 eastern end of the Sistine Chapel are his grand works in fresco. 
 The tomb of the Medici at Florence, and that of Julius II. at 
 Rome, the statues of Moses, David, and the Pieta at St. Peter’s, 
 are his finest works in sculpture. As an architect, he fortified 
 Florence, and directed the building of St. Peter’s for seventeen 
 years. He died at Rome 18 February, 1564, and was buried 
 in Santa Croce at Florence. His monument was designed by 
 Vasari. The story of his quarrel with Torrigiano, when the 
 latter struck him and crushed his nose, is well known. 
 
 BELLINI. 
 
 61. Giovanni Bellini. Italian painter : born at Venice in 
 1426. The founder of the Venetian school of painting : he 
 painted in tempera, and also in oil, and a story is told that he 
 learned the latter art by sitting, disguised as a model, to 
 
48 
 
 PRINCE CONSORT NATIONAL MEMORIAL. 
 
 AntonelJo da Messina, who had brought the art of oil painting 
 from the Netherlands. Several of his finest works at Venice 
 were destroyed by lire in 1577. Albert Diirer visited him at 
 Venice in 1506 : and among his pupils and followers, Giorgione 
 and Titian were the most celebrated. The National Gallery 
 contains some pictures bv Bellini. He died at Venice in 
 1516. 
 
 TITIAN. 
 
 62. Tiziano Vecellio. Italian painter : born at Cadore 
 in 1477. He was the greatest master of the Venetian school 
 of painting : a pupil of Zuccati and Giovanni Bellini : a 
 great colourist, and painter of portraits, landscapes, historical 
 and religious subjects. His finest works are in Venice, but his 
 pictures are very numerous, and are found in national and pri- 
 vate collections in England, France, Spain, Germany, Russia, 
 &c. He painted several pictures for the Emperor Charles V., 
 whom he saw at Bologna and Augsburg. In 1545, he visited 
 Rome, and made the acquaintance of Michael Angelo. He died 
 at Venice of the plague, 27 Aug., 1576, being 99 years of age, 
 and was buried in the Chiesa dei Fran. 
 
 MANTEGNA. 
 
 63. Andrea Mantegna. Italian painter : born at Padua 
 in 1431 : the son of a shepherd, and, like Giotto, his first em- 
 ployment was watching sheep : he however showed a talent for 
 drawing, and was placed under Squarcione. He painted several 
 frescoes and pictures at Padua, Verona, Rome, and Mantua, at 
 which latter town he settled in 1468. The correctness of his 
 drawing and the grandeur of his style contributed much to the 
 development of the art of painting. He also engraved many oi 
 his own pictures and designs. There are fine pictures by him 
 in the Louvre, National Gallery, and other celebrated collec- 
 tions : at Hampton Court are a series of cartoon designs by him 
 representing the “Triumph of Cresar.” He died at Mantua, 13 
 Sept. , 1506, and was buried in the chapel of St. John the Baptist 
 in the church of St. Andrea, where his likeness may be seen in 
 bronze over his tomb. 
 
 P. VERONESE. 
 
 64. Paolo Cagliari. Italian painter : called “Veronese, ” 
 being born at Verona in 1528 or 1532 : was the son of a 
 sculptor, and studied painting under Caroto and Badile : he 
 went to Venice at an early age, and there studied the works 
 of Titian and Tintoretto : he also visited Rome. He became 
 
SCULPTURES OF THE PODIUM. 
 
 49 
 
 one of the greatest masters of the Venetian school, and his 
 works are remarkable for the grandeur of their composition, 
 and the splendour of their colouring. There are fine specimens 
 of this master’s pictures in the National Gallery, the Louvre, 
 and especially in Venice. He was a man of courteous manners, 
 generous disposition, and refined taste. He frequently intro- 
 duced animals into his pictures of fetes, processions, &c., and in 
 allusion to that fact, his favourite greyhound has here been placed 
 by his side. 
 
 TINTORETTO. 
 
 65. Jacopo Robusti. Italian painter : born at Venice 
 in 1512, and called 44 II Tintoretto,” the little dyer: his 
 father being of that trade. He studied for a short time in 
 the school of Titian, but that master is said to have dismissed 
 him, being jealous of his talent. He then studied with great 
 energy, and wrote up in his painting room, 4 4 the drawing of 
 Michael Angelo, and the colouring of Titian,” as most worthy of 
 imitation. He painted very rapidly, and was sometimes called 
 44 II Furioso.” His finest pictures are in Venice, many being of 
 very great size, the picture of 44 Paradise” in the palace there, 
 measures 84 ft. by 34 ft. He died at Venice in 1594. 
 
 COREGGIO. 
 
 66. Antonio Allegri. Italian painter : born 1494 at 
 Coreggio, near Modena, and therefore named 44 da Coreggio.” 
 But little is known of his early life, nor is it recorded under 
 whose guidance he studied. He was established at Parma 
 in 1519, and his chief works in fresco are in that city. His 
 finest oil paintings are perhaps in the Dresden Gallery. Ho 
 was celebrated for the graceful form and action of his figures, 
 for his delicate colouring, and for his masterly skill in the 
 treatment of light and shade. He never visited Rome, and is 
 believed to have passed his life at Parma. He died 5 March, 
 1534, and was buried at the foot of the altar of the chapel ot 
 the Arrivabene in the church of the Franciscan Convent in that 
 city. 
 
 A. CARACCI. 
 
 67. Annibale Caracci. Italian painter : born at Bologna, in 
 1560 : the son of a tailor : studied under his cousin, Ludovico 
 Caracci at Bologna : afterwards visited Parma and Venice, and 
 in 1600 went to Rome at the invitation of Cardinal Farnese, 
 where he painted the famous frescoes in the Farnese Palace, 
 which were so mueh admired by Poussin. He had great facility 
 of drawing, and painted with great rapidity and freedom. He 
 
 E 
 
50 
 
 PRINCE CONSORT NATIONAL MEMORIAL. 
 
 was the chief painter of the three Caracci (Annibale, Ludovico, 
 and Agostino), who founded the new (Bolognese) school of 
 painting ; the fundamental principles of which were to be a 
 study of nature, and a close imitation of the old masters. He 
 died at Rome, 15 July, 1609, and was buried near Raphael in 
 the Pantheon. 
 
 L. CARACCI. 
 
 68. Ludovico Caracci. Italian painter : born at Bologna, 
 21 April, 1555 : was a pupil of Fontana and Tintoretto : he also 
 studied at Parma, Mantua, and Florence. He was cousin to 
 Annibale and Agostino Caracci ; and with them founded an 
 eclectic school of painting at Bologna, which was to combine all 
 the excellencies of the former Italian schools. He painted in 
 fresco as well as in oil, and excelled especially in the represent’ 
 ation of religious subjects ; his chief works are at Bologna. He 
 died 13 Dec., 1619. 
 
 VELASQUEZ 
 
 69. Diego Bodriguez da Silva y Velasquez. Spanish 
 painter : born at Seville, 6 June, 1599 : studied under Herrera 
 and Pacheco, whose daughter he married. He went to Madrid 
 in 1622, and soon became known as a painter of portraits, &c. : 
 he was afterwards appointed portrait-painter to the King. He 
 made the acquaintance of Rubens, when the latter visited 
 Madrid in 1628. He painted landscapes, historical and religious 
 subjects, as well as portraits. In 1629 he visited Italy, and 
 was received by the Pope with great honour, and lodged in the 
 Vatican. He returned to Spain in 1631, but paid a second visit 
 to Italy in 1649. From 1651 till his death he remained in 
 Spain. He died 6 Aug., 1660, and was buried with great pomp 
 in the chapel of the Fuensalidas in the Church of San Juan at 
 Madrid. This church was destroyed by the French in 1811, 
 and his remains were dispersed. 
 
 MURILLO. 
 
 70. Bartolome Esteban Murillo. Spanish painter: born 
 at Seville, and baptized there 1 January, 1618. Studied under 
 his uncle, Juan del Castillo. After painting many pictures at 
 Seville, he went to Madrid in 1643, where Velasquez took him 
 by the hand, and his style became much improved by the advice 
 of Velasquez, and by studying the works of Rubens, Titian, &c. 
 He returned to Seville in 1645, and remained there for the rest 
 of his life. He established an academy of painting, and 
 his chief works are to be seen in that town ; but many of his 
 pictures are in England. Whilst painting at Cadiz, he fell 
 
SCULPTURES OF THE PODIUM. 
 
 51 
 
 from a scaffolding, and was so much injured that he returned 
 home to Seville, and, after lingering a short time, he died there 
 3 April, 1682. 
 
 POUSSIN. 
 
 71. Nicolas Poussin. French painter : born at Andelys, 
 in 1594. As a child he showed a taste for drawing : studied 
 under several masters in Paris : went to Rome in 1624, and 
 there acquired that taste for the antique which characterises his 
 works. He was invited to France in 1640 by Richelieu, was 
 lodged in the Louvre, and appointed painter to Louis XIII. ; 
 but he preferred to return to Rome in 1643, and he remained 
 there until his death, 19 November, 1665. His tomb is in 
 the Church of San Lorenzo in Lucina, at Rome. He painted 
 mythological and historical subjects, and also landscapes. He 
 is described as tall and well proportioned ; his hair black ; his 
 eyes blue, and his nose rather long ; his forehead large, and his 
 look dignified, yet modest. His portrait, painted by himself, is 
 in the Louvre. 
 
 CLAUDE. 
 
 72. Claude G-elee. French painter : called Claude Lor- 
 raine, being born in Lorraine in 1600. His parents, who were 
 in humble circumstances, apprenticed him to a pastry-cook. 
 He went to Rome, and became servant and colour-grinder to 
 Tassi, the landscape painter : from whom he learned the rudi- 
 ments of painting. He made rapid progress, being especially 
 observant of nature, and in two years he became a celebrated 
 artist. His pictures are remarkable for the skilful treatment of 
 the aerial perspective. His “ Liber Veritatis,” now in the pos- 
 session of the Duke of Devonshire, is a collection of drawings 
 arranged as a key to his own pictures. He died 21 November, 
 1682. He is said to have been a well-proportioned person, 
 about five feet eight inches high, with a strongly featured coun- 
 tenance, a prominent nose, a high forehead, black eyes and hair, 
 with whiskers of a similar colour. His expression was grave, 
 tending to severity. 
 
 DAVID. 
 
 73. Jacques Louis David. French painter : born at 
 Paris, in 1748 : was a pupil of Vien : in 1775 went to study in 
 Rome, and, on his return to Paris in 1780, was made a member 
 of the Academy. In 1784 he was appointed painter to the King. 
 In 1789 he became a violent revolutionist, and a friend of 
 Robespierre. He subsequently designed the official costumes 
 worn during the Consulate and Empire. He was made principal 
 
 E 2 
 
52 
 
 PRINCE CONSORT NATIONAL MEMORIAL. 
 
 painter to Napoleon I., and received the Legion of Honour. On 
 the restoration of the Bourbons, he was banished from France, 
 and went to reside at Brussels. In 1825 he died, and was buried 
 there, as the French Government would not allow his family to 
 bring his body into France. He was the chief painter of the 
 classical school in France, and showed great partiality for the 
 antique. His pictures, drawings, &c., were sold in Paris, on 
 17 April, 1826. He had a large swelling on the side of his 
 face, caused, it is said, by a blow which he received when 
 young. His bust, by Rude, is in the Louvre. 
 
 GERARD. 
 
 74. Francois Gerard. French painter : born at Rome in 
 1770 : studied under Pajou, the sculptor, and was also a pupil 
 of David, the painter. His first picture, “ Belisarius,” was ex- 
 hibited in 1795. His chef d'oeuvre, the “ Entry of Henry IY. 
 into Paris,” is in the Versailles Gallery. He painted classical 
 and military subjects, and was also a successful portrait-painter. 
 He was a great favourite of Napoleon ; a member of the Insti- 
 tute ; knight of the Legion of Honour, &c. An accomplished 
 man, full of correct taste and refinement. 
 
 GERICAULT. 
 
 75. Jean Louis Theodore Andre Gericault. French 
 painter : born at Rouen in 1790 : was a pupil of Guerin and 
 Charles Yernet : exhibited his first picture in 1812, and in 1819 
 produced the picture by which he is best known, viz., “The 
 Wreck of the Medusa.” He had a special admiration for horses, 
 and he frequently introduced them into his pictures. He was 
 of an excitable temperament, and being thrown from his horse 
 whilst riding with Horace Yernet, his spine was injured. After 
 a lingering and wasting illness, he died at Paris, 18 Janu- 
 ary, 1827. 
 
 DELACROIX. 
 
 76. Ferdinand Victor Eugene Delacroix. French 
 painter : born at Charenton, near Paris, 26 April, 1799. At 
 an early age he entered the studio of Guerin, where Gericault 
 and Scheffer were his fellow-pupils. He exhibited his first 
 picture, “Dante and Virgil,” in 1824 ; and his next picture, 
 “The Massacre of Scio,” made considerable sensation. He 
 lived always in Paris, only leaving it in 1826 to visit England, 
 and in 1831, when he went to Morocco. He was a member of 
 the Legion of Honour, and was admitted to the Institute in 
 1857. His works are very numerous, and he is especially re- 
 
SCULPTURES OF THE PODIUM. 
 
 53 
 
 markable as a colourist. He lived a quiet, laborious life, and 
 suffered much from ill-healtli, being weak in the chest and 
 lungs. He died, at Paris, 13 August, 1863. 
 
 VERNET. 
 
 77. Jean Emile Horace Vernet. French painter: born 
 in the Louvre, at Paris, 30 June, 1789. His father and 
 grandfather were both painters, and had an official residence in 
 the Louvre. From his earliest years he drew and studied 
 painting under his father’s tuition ; and he is said to have 
 found purchasers for his drawings when only thirteen years of 
 age. He exhibited his first picture in 1810 ; served with Geri- 
 cault as a volunteer in a hussar regiment at the siege of Paris, 
 in 1814, and, though twice drawn for the conscription, he never 
 was a soldier. He received the Legion of Honour in 1814. In 
 1830 he succeeded Guerin as director of the French Academy at 
 Rome, but returned to Paris in 1835. He was much patronised 
 by King Louis Philippe, and received an order to paint the 
 Gallery at Versailles ; this occupied him for six years. In 
 1839-40 he travelled in the East ; in 1842 he visited Russia, 
 and in 1845 he went to Spain and Algeria. In 1853 he went 
 with the allied troops to Varna, and on his return to Paris he 
 painted his last picture, “The Battle of the Alma.” After a 
 long illness, he died, at Paris, 17 January, 1863. He painted 
 portraits, but he excelled chiefly in military subjects. His only 
 daughter married Delaroche ; she died in 1845. 
 
 DELAROCHE. 
 
 78. Hippolyte Delaroche. French painter : born in 
 1797. The name “Paul” was a “ nom de caresse,” given to 
 him when a child, and which he retained in after life.- He first 
 painted landscapes, but afterwards abandoned that style, and 
 entered the studio of Gros : he had exhibited landscapes in 
 1817, but in 1822 he produced his first historical picture. The 
 subjects of several of his works were chosen from English his- 
 tory. He became a member of the Institute in 1833, and after- 
 wards visited Italy. In 1837 he commenced his great work the 
 ‘ ‘ Hemicyle, ” in the Ecole des Beaux Arts, and this occupied 
 him for four years. After the death of his wife in 1845, he 
 painted chiefly religious pictures. He died, at Paris, 4 Nov., 
 1856. 
 
 INGRES. 
 
 79. Jean Dominique Auguste Ingres. French painter: 
 born at Montauban, 15 Sept., 1781. He first, in accordance 
 with his father’s wish, studied for the musical profession, but 
 
54 
 
 PRINCE CONSORT NATIONAL MEMORIAL. 
 
 preferring to become a painter, he entered the studio of David. 
 He exhibited his first picture in 1800 ; he then went to Rome, 
 and remained there until 1824, when he returned to France ; 
 but in 1829 he was appointed the director of the French 
 Academy in Rome, in succession to Horace Yernet. He re- 
 ceived the Legion of Honour in 1834 ; in 1842 he finally settled 
 in Paris, and became the professor of painting in the Ecole des 
 Beaux Arts. He painted portraits, classical and religious sub- 
 jects ; and, by his works and teaching, exercised great influence 
 in the French school of painting. He died, at Paris, 14 Jan., 
 1867. 
 
 DECAMPS. 
 
 80. Gfabriel Alexandre Decamps. French painter : 
 born at Paris, 3 March, 1803 : studied under Bouhot and Abel 
 de Pujol. He published some lithographs in 1822 ; and, in 
 1824, he travelled in Switzerland, and studied landscape. He 
 exhibited his first picture in 1826. In 1827-28, he travelled in 
 the East, and in 1831 he produced several pictures of oriental 
 and other subjects, which attracted much attention. He usually 
 painted landscapes and small figures, and was especially remark- 
 able as a vigorous colourist. Whilst riding a restive horse in 
 the forest of Fontainebleau his head was dashed against a tree, 
 and he died 22 Aug., 1860. 
 
 NOKTH FRONT. 
 
 THE ARCHITECTS, 
 
 By J. B. Philip. 
 
 PUGIN. 
 
 81. Augustus Webby Northmore Pugin. British 
 architect : born 1 March, 1812 ; was the son of an architect : 
 educated at Christ’s Hospital ; entered his father’s office in 1827, 
 and subsequently travelled much in France and England. His 
 name will always be connected with the revival of Gothic archi- 
 tecture in England. Many churches and secular buildings in 
 this style were erected by him. He designed some of the 
 decorations and furniture for Windsor Castle ; supplied designs 
 for plate to Messrs. Rundell and Bridge ; and at one time 
 painted scenes for Covent Garden Theatre. In 1833 he went to 
 live at Ramsgate and there produced many literary architec- 
 
SCULPTURES OF THE PODIUM. 
 
 55 
 
 tural works. He liad a great love for the sea, and was fre- 
 quently to be seen dressed as a sailor. He was somewhat short 
 of stature, and of a dark complexion. He died 14 Sept., 
 1852, and was buried in his own church of St. Augustine at 
 Ramsgate. 
 
 SCOTT. 
 
 82. George Gilbert Scott, R.A. The architect of this 
 Monument. 
 
 COCKERELL. 
 
 83. Charles Robert Cockerell, R.A, English architect : 
 born in London in 1788, was the son of an architect : went to 
 Westminster School, and afterwards entered his father’s office. 
 He assisted Smirke in rebuilding Covent Garden Theatre in 
 1809. In 1810 he went to Greece and there discovered the 
 sculptures of the Temple of Athene in iEgina, and also those of 
 the Temple of Apollo at Pliigaleia ; these latter, by liis instru 
 mentality, •were brought over to England in 1813, and are now 
 in the British Museum. He endeavoured to induce the Govern- 
 ment to purchase the iEginetan marbles, but without success ; 
 they are now in the Glyptothek, at Munich. He afterwards 
 visited Sicily, Asia Minor, Italy, &c. In 1819 he was appointed 
 surveyor of St. Paul’s Cathedral, and in 1832, the architect to 
 the Bank of England. He was elected to the Royal Academy in 
 1836, and became professor of architecture there in 1840. Some 
 of his principal works are the Taylor Buildings at Oxford : 
 University Library at Cambridge : Lampeter College : Sun Fire 
 Office : portions of the Bank of England, &c. He died 17 
 Sept., 1863, and was buried in St. Paul’s Cathedral, near John 
 Rennie, the engineer, whose daughter he had married. 
 
 BARRY. 
 
 84. Sir Charles Barry, R.A. English architect : born 
 
 in Bridge Street, Westminster, May, 1795, was articled to 
 Messrs. Middleton and Bailey, of Lambeth. When 22 years of 
 age he visited Italy, Belgium, Greece, Palestine, Egypt, &c. 
 His first work on his return to England, was the church of St. 
 Peter, at Brighton. He also designed the Travellers’ and 
 Reform Club Houses : Bridgewater House, and numerous 
 
 similar structures throughout the country. His most extensive 
 work, and that by which he will be best known, is the Palace of 
 the Legislature at Westminster. He was knighted in 1852. 
 He died 12 May, 1860, and was buried in the nave of West- 
 minster Abbey. 
 
56 
 
 PRINCE CONSORT NATIONAL MEMORIAL. 
 
 CHAMBERS. 
 
 85. Sir William Chambers. English architect : son of a 
 Swedish merchant, was born at Stockholm in 1726, and educated 
 in England at Ripon : he afterwards settled as an architect in 
 London : he had travelled much and visited China. He was 
 selected to give lessons on architecture to George III., and on 
 His Majesty’s accession to the throne he was appointed royal 
 architect ; in that capacity he was employed to lay out Kew 
 Gardens and to build Somerset House. He published several 
 works on architecture, and also a treatise on the oriental style 
 of gardening. He died 8 May, 1796, and was buried in tile 
 South Transept of Westminster Abbey. 
 
 VANBRUGH. 
 
 86. Sir John Vanbrugh. English architect : born ill 
 London in 1666 : was descended from a Flemish family. He was 
 at first a dramatic author, and produced many comedies. He 
 became an architect in 1702, and his first work was Castle Howard 
 in Yorkshire. Blenheim is his most celebrated production. He 
 was knighted in 1714. He died 26 March, 1726, at his house 
 in Whitehall. The following epitaph was suggested for him : — 
 ‘ 6 Lie heavy on him, earth, for he laid many a heavy load on 
 
 WREN. 
 
 87 . Sir Christopher Wren. English architect : born at 
 East Knoyle, in Yorkshire, in 1632 : was educated at West- 
 minster School, and afterwards at Wadham College, Oxford. In 
 1653 he became a fellow of All Souls’ College : in 1657 he was 
 appointed Gresham Professor of Astronomy, and in 1661 Savi- 
 lian Professor at Oxford. In the same year he succeeded Sir 
 John Denham as Surveyor- General : in that capacity he was 
 ordered to furnish a design for rebuilding St. Paul’s Cathedral. 
 His works are very numerous, the destruction of London by fire 
 affording him great opportunities. He built St. Paul’s Cathe- 
 dral in London : the Sheldonian Theatre at Oxford : Greenwich 
 Hospital : Chelsea Hospital : the west front of Westminster 
 Abbey : Trinity College Library at Cambridge : the Monument : 
 Temple Bar : the principal part of Hampton Court Palace : and 
 some portions of Windsor Castle. He died at Hampton Court 
 25 Feb.. 1723, aged 90 vears, and was buried in St. Paul’s 
 Cathedral. He is described as “low of stature, his forehead 
 broad and fair, his eyes large, his nose slightly aquiline, and his 
 face full of talent and intelligence : he was light and active in 
 
SCULPTURES OF THE PODIUM. 
 
 57 
 
 INIGO JONES. 
 
 88. Inigo Jones. English architect : horn in London in 
 1572 : was first apprenticed to a carpenter. The Earl of Arun- 
 del, perceiving his talent for drawing, sent him to Italy : he 
 there became inspired by the works of Palladio, and became an 
 architect : he visited Denmark : and at the invitation of Queen 
 Anne he afterwards came to England, and was appointed Sur- 
 veyor-General. He produced a grand design for Whitehall 
 Palace, of which only the Banqueting House was completed in 
 1612. A portion of decoration from the frieze of this building 
 is shown in the background. His principal works are — Lin- 
 coln’s Inn Chapel : St. Paul’s, Covent Garden : the Grange near 
 Alresford : Wilton House. He was also much employed in 
 designing scenery for the masques and entertainments at Court. 
 He was a Roman Catholic, and being also a Royalist, he suffered 
 much during the civil wars : he died 21 July, 1652, worn out 
 with misfortune and suffering. 
 
 MANSART. 
 
 89. Frangois Mansart. French architect : born at Paris 
 in 1598 : studied under Gautier, and gave evidence of his talent 
 as an architect at an early age. He invented the style of roof 
 (Mansarde) which now bears his name. His most celebrated 
 works are the church of Val de Grace, in Paris : the Chateau de 
 Maisons : the Chateau de Gevres : the church at Chaillot, &c. 
 He died at Paris in Sept., 1666. 
 
 THORPE. 
 
 90. John Thorpe. English architect : the dates of his birth 
 and death are unknown : he lived during the reigns of Elizabeth 
 and James I. Several buildings erected by him still remain; 
 of which Holland House, at Kensington, and Longford Castle, 
 in Wiltshire, are the most remarkable now existing. He left 
 an interesting folio of plans for many buildings, which is now 
 in the Soane Museum : amongst them is a design for Ins own 
 
 house, of which this is the form I and T (his 
 
 initials), joined by a corridor, with the following verse on the 
 design 
 
 ‘‘These 2 lettres J & T 
 Joinet togetlire as you see 
 Is meant for a dwelling-house for me.” 
 
 John Thorpe. 
 
 PALLADIO. 
 
 91. Andrea Palladio. Italian architect : born at Vicenza 
 in 1518. When young he went to Rome and studied there for 
 
58 
 
 PRINCE CONSORT NATIONAL MEMORIAL. 
 
 some years. Upon his return to his native town, he was soon 
 actively employed, and it is there, and at Venice, that his chief 
 works are to he seen. His style of design became so popular, 
 that the term “Palladian” has been adopted to describe it. 
 He built the churches of “II Redentore ” and “St. Giorgio” 
 at Venice : the theatre and many palaces at Vicenza, &c. The 
 Duke of Devonshire’s villa at Chiswick was copied by Kent 
 from his “Villa Capra,” near Padua. He was the author 
 of several architectural treatises. He died at Vicenza in 1580. 
 He is said to have been small in stature, and of an agreeable 
 countenance. 
 
 VIGNOLA. 
 
 92. Giacomo Barozzi. Italian architect: was called “Vig- 
 nola,” having been born in that town in 1507. He studied 
 painting at Bologna, and then went to Rome and became an 
 architect : having made the acquaintance of Primaticcio, he 
 accompanied that artist to France in 1537, and was employed in 
 Paris for two years. He then returned to Bologna, and there 
 built the church of San Petronio, and some secular edifices. 
 He afterwards settled in Rome, and was appointed architect to 
 Pope Julius II. His most famous work is the Castle of Capra- 
 rola, built for Cardinal Alessandro Farnese. He worked on St. 
 Peter’s, and erected the Villa Giulio, near Rome, for the Pope. 
 He died at Rome in 1573. 
 
 DELORME. 
 
 93. Philibert Delorme. French architect : born at Lyons 
 about 1518. He studied in Italy, especially at Rome, and re- 
 turned to France about 1546 : he then went to Paris, and in 
 1564 was appointed Architect to the King. He commenced the 
 building of the Tuileries under the direction of Catherine dei 
 Medici : he worked on the Louvre, and built the Chateau at 
 Meudon, Anet, &c. He also designed the tomb of the Valois 
 at St. Denis. There are several books on architecture written 
 by him. He died in 1577. 
 
 SANSOVINO. 
 
 94. Jacopo Tatti. Italian architect : born at Florence in 
 1479. He was called “ Sansovino ” from being a pupil of Andrea 
 di Monte Sansovino : he also studied under San Gallo ; and was 
 employed by Pope Julius II. at the Vatican. He went to Venice 
 in 1527, and erected many public buildings there, of which the 
 most celebrated are the Public Library, the church of San Gemi- 
 niano, the restoration of the cupolas of St. Mark’s, the Palazzo 
 
SCULPTURES OF THE PODIUM. 
 
 59 
 
 Cornaro, &c. He also executed several works of sculpture. He 
 died at Venice in November, 1570. 
 
 SAN GALLO. 
 
 95. Antonio San Gallo. Italian architect : born at 
 Mugello, near Florence, about 1448. He studied under Bra- 
 mante, and ultimately succeeded him as architect of St. Peter’s. 
 He designed the Capella Paolinain the Vatican, and also altered 
 the Mole of Hadrian into the present castle of St. Angelo. He 
 was likewise employed to fortify CivitaVecchia, Parma, Ancona, 
 &c. He died in 1534. 
 
 PERUZZI. 
 
 96. Baldassare Peruzzi. Italian architect : was born at 
 Volterra, near Siena, in 1480. He began life as a painter, and 
 executed many works at Rome : he painted several single pic- 
 tures, and specially excelled in designing elegant and fanciful 
 architectural decorations. His chief works as an architect are the 
 Chigi, Massimi, and Farnesina palaces at Rome. He succeeded 
 Raphael as one of the architects of St. Peter’s : his design was 
 to make that church a Greek cross. He was taken prisoner by 
 the Spaniards at the sack of Rome in 1527, but returned again 
 to that city, and died there in 1536, it was reported, by poison. 
 He was buried in the Pantheon by the side of Raphael. 
 
 BRAMANTE. 
 
 97. Donato Lazzari. Italian architect : born in 1444. It 
 is uncertain why he was called “ Bramante.” He first turned 
 his attention to painting, but afterwards became an architect. 
 D’Agincourt says, “although Brunelleschi and Alberti restored 
 the ancient style of architecture to life, yet Bramante established 
 it firmly and adapted it to the requirements of modern life.*’ 
 He was employed by the Popes Alexander VI. and Julius II. to 
 build the Vatican Library, the Belvedere Gallery and Loggie 
 (afterwards decorated by Raphael), and also to rebuild St. 
 Peter’s : his original plans were, however, much altered by 
 Michael Angelo and others. He erected several churches and 
 palaces in Rome. He first brought Raphael to Rome, and 
 introduced him to the Pope. His portrait was painted by 
 Raphael in the fresco of the “School of Athens.” He died in 
 1514, and was buried in the crypt of St. Peter’s. 
 
 WILLIAM OF WYKEHAM. 
 
 98. William of Wykeham. English architect : born at 
 Wykeham, in Hampshire, in 1324, of poor parents : educated 
 
60 
 
 PRINCE CONSORT NATIONAL MEMORIAL. 
 
 by Uvedale, Governor of Winchester Castle, who recommended 
 him to Edward III. He was appointed surveyor of works to the 
 King, and in that capacity rebuilt Windsor Castle. He also 
 rose to high dignities in church and state : became Secretary to 
 the King and President of his Council : after holding various 
 ecclesiastical preferments, he was made, in 1366, Bishop of Win- 
 chester. He rebuilt a considerable portion of the cathedral, and 
 also founded the college there, and New College at Oxford. He 
 died 24 September, 1404, and was buried at Winchester, where 
 his monument is still to be seen. A representation of the west 
 end of Winchester Cathedral is here placed in his hands. 
 
 ALBERTI. 
 
 99. Leo Battista Alberti. Italian architect : born at 
 Venice in 1404 : was celebrated as an architect, painter, musi- 
 cian, poet, and mechanician. His finest architectural works are 
 the church of St. Francis at Rimini, the fagade of Santa Maria 
 Novella, the apse of the Nunziata, and the Rucellai palace at 
 Florence. He also wrote treatises on architecture and painting. 
 He died at Rome in 1472. His portrait effigy is preserved on a 
 bronze medallion of Matteo dei Pasti. 
 
 BRUNELLESCHI. 
 
 100. Filippo Brunelleschi. Italian architect: born in 
 1377. He was at first a goldsmith, when his friendship with 
 Donatello, and a visit to Rome, inclined him to become a sculptor : 
 he then competed with Ghiberti for the execution of the gates of 
 the Baptistery at Florence. After the death of Arnolfo di Lapo, 
 he was employed, as an architect, to continue the works of the 
 cathedral, and especially to construct the dome, for which no 
 plans existed. He also built the Pitti Palace, San Lorenzo, at 
 Florence, the abbey at Fiesole, and other churches and palaces. 
 His biography is one of the most interesting of the series written 
 by Vasari. He died 16 April, 1446, and was buried in the 
 cathedral at Florence near Giotto : where there is a bust done 
 from the life by one of his pupils. He was small in person, 
 but of commanding and powerful genius. 
 
 GIOTTO. 
 
 101. Giotto. See No. 54. 
 
 ARNOLFO DI LAPO. 
 
 102. Arnolfo di Lapo or del Cambio. Italian architect : 
 born in 1232. “By his labours,” says Vasari, “architecture 
 made equal progress with painting under the influence of 
 
SCULPTURES OF THE PODIUM. 
 
 61 
 
 Cimabue.” His father’s name was Cambio, but he studied 
 under an architect named “ Lapo ” (whence his name), and also 
 under Niccolo Pisano. His most important works are in Flo- 
 rence, viz., the cathedral, the church of Santa Croce, the 
 Palazzo Yecchio, and Or San Michele, built by him for a corn- 
 market, but which Orcagna converted into the present church. 
 He was likewise a sculptor, and executed the tomb of Cardinal 
 de Braye at Orvieto ; the monument of Boniface VIII. in the 
 crypt of St. Peter’s is also attributed to him. He died in 1310. 
 Giotto introduced his portrait into a fresco of the death of St. 
 Francis at Santa Croce. A representation of the Cathedral and 
 the Campanile at Florence is introduced behind the figures of 
 Giotto and Arnolfo di Lapo. 
 
 ERWIN VON STEINBACII. 
 
 103. Erwin von Steinbach. German architect : the date 
 of his birth is unknown, but he is said to have been a native of 
 Steinbacli, in Baden. His famous work is the fa£ade, &c. , of 
 Strasburg Cathedral, which he commenced in May, 1277. His 
 sons and daughters are believed to have executed much of the 
 decoration, especially the statues on the exterior. The date of 
 his death is uncertain, but he was alive in 1318. He is buried 
 close to the cathedral, and his tombstone was lately discovered 
 there. His statue, said to be carved by himself, stands in the 
 cathedral, and a modern statue of him has recently been placed 
 in the porch on the south side of the nave. 
 
 JEHAN HE CHELLES. 
 
 104. Jehan de Chelles. French architect : lived in the 
 thirteenth century. The western portico of Notre Dame Cathe- 
 dral at Paris is his design. He holds in his hand a model of the 
 central door. 
 
 ROBERT DE COUCY. 
 
 105. Robert de Coucy. French architect : lived in the 
 thirteenth century. He was the architect of the Cathedral of 
 Rheims. 
 
 WILLIAM OF SENS and WILLIAM TIIE ENGLISHMAN. 
 
 106. William of Sens ; and 107. William the English- 
 man. English architects : lived during the twelfth century. 
 They were both employed upon the choir and other portions of 
 Canterbury Cathedral. 
 
62 
 
 PRINCE CONSORT NATIONAL MEMORIAL. 
 
 ABBfi SUGER. 
 
 108. The Abbe Sugrer. French architect : born about 
 1087 : became abbot of St. Denis in 1122, and directed the re- 
 building of that abbey, which was commenced in 1134. He was 
 First Minister to Louis VI. and Louis VII. He died in 1152. 
 
 ANTHEMIUS. 
 
 109. Anthemius. Roman architect : was a native of Asia 
 Minor, and lived in the sixth century. He was employed by 
 the Emperor Justinian to build the Church of St. Sophia at Con- 
 stantinople, and is believed to have been the first architect who 
 supported a cupola on four arches, instead of from the ground 
 direct ; a plan of St. Sophia is inscribed on the tablet which he 
 bears. He is said to have been also a sculptor and mathema- 
 tician, and to have been skilled in experimental philosophy. 
 He died 534 a.d. 
 
 APOLLODORUS. 
 
 110. Apollodorus. Roman architect : a native of Damas- 
 cus : lived in the second century, during the reigns of Trajan 
 and Hadrian. He built the Forum of Trajan, the Gymnasium, 
 the Column of Trajan at Rome, and other edifices. In conse- 
 quence of some indiscreet expressions, he was banished from 
 Rome by Hadrian, and afterwards put to death. He holds a 
 model of Trajan’s column in his hands. 
 
 HERMODORUS. 
 
 ' 111. Hermodorus. Roman architect : lived in the second 
 century n.c., and is believed to have been a native of Salamis. 
 He was the architect of the Temple of Jupiter Stator in the 
 Forum at Rome, and also of the Temple of Mars in the Fla* 
 minian Circus, 
 
 CALLIMACHUS. 
 
 112. Callimachus. Greek architect : a native of Corinth : 
 flourished about 408 B.c. Pliny and Pausanias mention several 
 works by him. He was a sculptor as well as an architect. 
 Vitruvius states that he invented the Corinthian column and 
 capital. He is said to have devoted special care to the details 
 of his works, so much so, that he sometimes marred their grand 
 effect by over elaboration. A drawing of a Corinthian capital 
 is shown on the tablet in his hand. 
 
SCULPTURES OF THE PODIUM. 
 
 G3 
 
 LIBON. 
 
 113. Libon. Greek architect : a native of Elis : probably 
 lived between the fifty-second and eighty-sixth Olympiad, or 
 about b.c. 560 to 436. He was the architect of the great Temple 
 of Jupiter at Olympia, which is described by Pausanias. Some 
 sculptures from this temple are now in the Louvre. 
 
 CALLICRATES. 
 
 114. Callicrates. Greek architect : lived about 440 B.c., 
 and is said to have taken part with Ictinus in building the 
 Parthenon. Pausanias states that Ictinus was the sole archi- 
 tect, but Plutarch says it was the joint work of Ictinus and 
 Callicrates. It has been suggested that Callicrates may have 
 been only the contractor for the expenses of the building. 
 
 ICTINUS. 
 
 115. Ictinus. Greek architect: lived about 440 b.c. He 
 was employed to erect two of the most celebrated Greek temples, 
 viz., the Parthenon at Athens, and the Temple of Apollo at 
 Phigaleia. Valuable sculptures from both of these temples are 
 now in the British Museum. Those of the Parthenon were 
 brought over by Lord Elgin; those from Phigaleia by Mr. C. 
 R. Cockerell. Ictinus is said also to have built the Temple of 
 Demeter and Persephone at Eleusis. A representation of the 
 western pediment of the Parthenon is shown behind the figures of 
 Ictinus and Callicrates. 
 
 MNESICLES. 
 
 116. Mnesicles. Greek architect : lived about 437 b.c. 
 One of the distinguished artists employed by Pericles at Athens, 
 His most remarkable work is the Propylsea of the Parthenon. 
 
 CHERSIPHRON and METAGENES. 
 
 117 and 118. Chersiphron. Greek architect : born at 
 Knosos, in Crete, and flourished about 560 b.c. He, with his 
 son Metagrenes, commenced the building of the Temple of 
 Diana at Ephesus : and on account of the size of many of the 
 blocks, they were compelled to invent several special mechani- 
 cal contrivances for transporting and raising them. Vitruvius 
 mentions a descriptive account of this temple written by these 
 two architects. The temple was not finished for 220 years, and 
 shortly after its completion it was burnt down by Herostratus, 
 on the same night that Alexander the Great was born, in 356 
 b. c. It was one of the seven wonders of the world. 
 
PRINCE CONSORT NATIONAL MEMORIAL, 
 
 CA 
 
 RHCECUS. 
 
 119. Rhcecus. Greek architect : a native of Samos, flou- 
 rished about the 50th Olympiad or 580 B.c. He built the 
 Temple of Juno at Samos. He was also a sculptor, and to 
 him has been attributed the invention of casting statues in 
 metal. 
 
 THEODORUS. 
 
 120. Theodoras. Greek architect : son of Telekles, flou- 
 rished about 560 b.c. He was a sculptor as well as an architect. 
 His most remarkable work was the foundation of the Temple of 
 Diana at Ephesus, which, on account of the marshy nature of 
 the soil, he prepared by burying charcoal in fleeces of wool. 
 He was also engaged with Rhcecus in the construction of the 
 Labyrinth of Lemnos. The celebrated ring of Polycrates was 
 one of his works. 
 
 HIRAM. 
 
 121. Hiram or Huram. A workman of Jewish and 
 Tyrian origin, who came from Tyre, and was employed by 
 Solomon in the construction of the Jewish Temple. “A 
 widow’s son of the tribe of Naphtali, and his father was a man 
 of Tyre ; a worker in brass ; and he was filled with wisdom and 
 understanding and cunning, to work all works in brass. And 
 he came to King Solomon and wrought all his work.” 1 Kings, 
 vii. ver. 14. 
 
 BEZALEEL. 
 
 122. Bezaleel. The son of Uri, the son of Hur, of the 
 tribe of Judah ; employed by Moses to construct the Taber- 
 nacle in the Wilderness ; “ to devise cunning work, to work in 
 gold and in silver and in brass, and in cutting of stones, to set 
 them, and in carving of timber, to work in all manner of work- 
 manship.” Exodus, ch. xxxi. ver. 1—6, and ch. xxxviii. ver. 22. 
 
 SENNACHERIB. 
 
 123. Sennacherib. King of Assyria, reigned from 705 to 
 681 B.c. At the commencement of his reign, he conquered 
 Merodoch Baladan, King of Babylon : he afterwards made his 
 celebrated expedition to Palestine, when he took all the fenced 
 cities of Judah, and besieged Hezekiah in Jerusalem. Heze- 
 kiah submitted and paid thirty talents of gold, and eight 
 hundred talents of silver as tribute to him. Some disaster hap- 
 
SCULPTURES OF THE PODIUM. 
 
 65 
 
 pened to the Assyrian army and they returned to Nineveh, 
 taking with them, however, the spoil which they had acquired. 
 Sennacherib afterwards made expeditions into Media, Persia, 
 Arabia, &c., and after a brilliant reign of twenty-four years, he 
 was murdered by his two sons. He was a great builder, and 
 greatly adorned the city of Nineveh. His palace, which was 
 discovered by Mr. Layard, was of great extent and magnificence. 
 Many sculptures from this palace are now in the British Museum : 
 he holds a plan of the palace in his hand. On the background 
 behind this figure is incised the name Sennacherib in cuneiform 
 characters. 
 
 NITOCRIS. 
 
 124. Nitocris. An Egyptian Queen of the VI. Dynasty, 
 probably lived 2100 B.c. Her name signifies Neith, (Athene) 
 victorious. She reigned in her own right, and frequently ap- 
 peared dressed in male attire. She is said to have built the 
 third pyramid, and it is probable that she enlarged the original 
 monument. She holds a small model of a pyramid. 
 
 CHEOPS. 
 
 125. Cheops. The first or second monarch of the IV. 
 Egyptian dynasty : flourished about 3090 B.c., and reigned 50 
 years. He was the builder of the greatest of the Pyramids at 
 Gizeh, on the stone blocks of which his name is found. This 
 most remarkable and oldest of the world’s structures, is com- 
 posed of layers of calcareous stone most accurately put together, 
 and rises to a height of 480 feet, on a base of about 767 feet, 
 covering an extent of more than 13 acres. Cheops was also 
 celebrated in Egyptian history for other works. He is said to 
 have shut up the temples and to have been guilty of impiety to 
 the gods, and on his repentance to have written some works, 
 since lost. As the pyramid was made by a corvee of forced 
 labour, he was naturally looked upon in after times as an oppres- 
 sor ; 100,000 men were constantly employed on the work. He 
 conquered many adjacent tribes, and extended his dominions as 
 far as Sinai in the Arabian peninsula, where he continued the 
 working of some copper mines. He founded the original temple 
 of iEtlier at Denderali ; and the remnants of a medical work 
 written in his reign have been discovered. The names of 
 Nitocris and Cheops are indicated in Egyptian hieroglyphs. 
 
 r 
 
66 
 
 PRINCE CONSORT NATIONAL MEMORIAL. 
 
 WEST EEONT. 
 
 THE SCULPTOKS, 
 
 By J. B. Philip. 
 
 126. Egyptian. 
 
 127. Assyrian. 
 
 128. Bhcecus. Greek sculptor. See 119. 
 
 DIBUTADES. 
 
 129. Dibutades. Greek sculptor : is believed to have 
 lived about 664 B.a The process of modelling in clay is 
 stated to have been invented by him. Pliny relates that his 
 daughter, when taking leave of her lover, who was going on a 
 journey, traced his profile on the w T all : this outline Dibutades 
 filled in with clay, and thus formed a portrait, which he after- 
 wards hardened in the fire. 
 
 BUPALUS. 
 
 130. Bupalus. Greek sculptor ; flourished about the 60tli 
 Olympiad, or 540 B.c. He is believed to have been the first 
 artist who carved statues in marble: metal and wood having been 
 the materials previously used. Pliny and Pausanias mention 
 several works by him, and the latter states that he was an archi- 
 tect as well as a sculptor. 
 
 PHIDIAS. 
 
 131. Phidias. Greek sculptor : bom at Athens, and 
 flourished in the 83rd Olympiad, or 440 n.c. The greatest 
 sculptor of Greece, his genius was recognised by Pericles, the 
 ruler of Athens ; and his principal works were executed in that 
 city. The statue of Minerva, formed of ivory and gold, which 
 stood ill the Parthenon, was his most celebrated work : it is said 
 to have been 40 feet in height. A model of the Minerva is here 
 placed ill liis hand, and a portion of the frieze of the Parthenon 
 appears in the background. The sculptured ornaments of the 
 Parthenon, the remains of which (Elgin marbles) form the 
 glory of our National Museum, were probably executed under 
 his superintendence. Another statue by him was that of 
 Jupiter at Olympia ; it was in ivory and gold, and w r as one of 
 
SCULPTURES OF THE PODIUM. 
 
 67 
 
 the seven wonders of the ancient world. It is a tradition that 
 he introduced his own figure upon the shield held by the 
 Minerva : he was represented as old and bald, and lifting up a 
 stone. 
 
 SCOPAS. 
 
 132. Scopas. Greek sculptor, of the later Athenian school : 
 was born in the island of Paros, and flourished about the 107th 
 Olympiad, or 352 b.c. He executed the sculptures on the 
 eastern side of the Mausoleum erected by Queen Artemisia to the 
 memory of her husband Mausolus at Halicarnassus. Pliny and 
 Pausanias mention many of his celebrated statues. He was 
 also an architect. 
 
 BRYAXIS. 
 
 133. Bryaxis. Greek sculptor : was a native of Athens, 
 and flourished from 352 to 312 B.c. Pliny mentions five statues 
 by him in Rhodes — some in metal and some in marble. His 
 statues of Apollo and Jupiter were said to have been so excel- 
 lent, that they were by some believed to have been the work of 
 Phidias. He 'worked with Scopas, Leocliares, and Timotheus 
 on the Mausoleum at Halicarnassus. A representation of this 
 structure, according to Professor Cockerell’s imaginary restora- 
 tion, is placed in front of the figure of Bryaxis. The actual 
 remains of this monument, which were brought to this country 
 by Mr. Charles T. Newton, are now preserved in the British 
 Museum. 
 
 LEOCHARES. 
 
 134. Leocliares. Greek sculptor : flourished about the 
 107tli Olympiad, or 352 B.c. : worked with Bryaxis and Ti- 
 motheus on the Mausoleum. Pliny mentions many statues by 
 him, especially a Ganymede, of which copies in marble are 
 extant. 
 
 PRAXITELES. 
 
 135. Praxiteles. Greek sculptor : a native of Athens, 
 flourished about 350 B.c. He is the chief representative of 
 the later Greek school : Phidias being the representative of the 
 earlier school. Pliny has recorded the subjects of many of his 
 statues, and copies of some of them exist. Apollo killing the 
 lizard, and the Cnidian Venus are two of his most celebrated 
 works. 
 
 LYSIPPUS. 
 
 136. Lysippus. Greek sculptor : flourished about the 
 113th Olympiad, or 323 E.c. He was a native of Sicyon, and 
 
 F 2 
 
68 
 
 PRINCE CONSORT NATIONAL MEMORIAL. 
 
 a contemporary of Alexander the Great, who granted to him 
 the exclusive privilege of making his effig}^. Pliny says that 
 his works were upwards of 1500 in number, the story being that 
 he used to lay by a single piece of gold out of the price received 
 for each of his works, and that at his death 1500 pieces were 
 found. One of his celebrated works was an athlete scraping 
 himself with the strigil (Aponyonenos), of which the statue in the 
 Braccio Nuovo of the Vatican is probably a copy. It is not known 
 whether he worked in marble as well as in metal. 
 
 CHARES. 
 
 137. Chares. Greek sculptor : a native of Lindus, in 
 Rhodes, flourished about 300 b.c. He was a pupil of Lysippus, 
 and his most famous work was the colossal statue of Apollo at 
 Rhodes, said to have been 105 feet in height : it was overthrown 
 by an earthquake soon after its erection ; and the fragments 
 having remained lying about for upwards of 900 years, were 
 ultimately sold by a Turkish general to a Jew merchant, who 
 required 900 camels for their removal. The head on the late 
 Rhodian silver coins was probably copied from this statue : it 
 is represented here on the background. 
 
 GIULIANO DI RAVENNA. 
 
 138. Giuliano di Ravenna. Italian sculptor : lived in 
 the 6tli century. The name of “ Giuliano ” is incised on the 
 marble columns in the choir of the Basilica of St. Vitale at 
 Ravenna. This church was built during the reign of the Em- 
 peror Justinian, and consecrated in 547 a.d. 
 
 NICCOLA PISANO. 
 
 139. Niccoia Pisano. Italian sculptor : born at Pisa in 
 1205 or 1206 : an architect as well as a sculptor. He Was the 
 first sculptor who revived the art in Italy, and departed from 
 the stiff conventional forms which had till then prevailed. 
 One of his most famous works is a pulpit in the Baptistery at 
 Siena, of which a cast is to be seen in the South Kensington 
 Museum. 
 
 GHIBERTI. 
 
 140; Lorenzo Ghiberti. Italian sculptor : born at Florence 
 in 1381 : was at first a goldsmith. His most celebrated work 
 is the bronze gates of the Baptistery at Florence, for the exe- 
 cution of which he competed with Donatello and Brunelleschi : 
 when they saw the excellence of his design, they withdrew in 
 his favour. Michael Angelo said these gates were fit for the 
 
SCULPTURES OF THE PODIUM. 
 
 69 
 
 entrance to Paradise : the execution of them occupied Ghiberti 
 for twenty- one years : his own portrait is introduced in the 
 decoration of the border : his head is bald. There are excel- 
 lent casts from these gates at the Crystal Palace. He is here 
 represented as exhibiting two panels of these gates to Luca 
 della Robbia. 
 
 LUCA DELLA ROBBIA. 
 
 141. Luca della Robbia. Italian sculptor : born at Flo- 
 rence in 1400 : he worked in metal and in marble, but he is 
 best known as having given his name to his terra-cottas, called 
 “Della Robbia ware:” they are usually religious groups in 
 high relief (especially the Virgin and Child), enclosed in graceful 
 and elegant devices formed of flowers and fruit. There is a 
 remarkably fine collection of this ware at the South Kensington 
 Museum. The street in which he lived in Florence is called 
 “ Via della Robbia.” He died about 1481. 
 
 W. TOREL. 
 
 142. William Torel. English sculptor : lived in the lat- 
 ter part of the thirteenth century. Although it has been as- 
 serted that the name of this sculptor was Torelli, and that he 
 was an Italian, there is every reason for believing him to have 
 been an Englishman, as the name is spelt Torel in the early 
 records. The statues of Queen Eleanor and Henry III. at 
 Westminster Abbey are his work. The effigy of Queen Eleanor, 
 and the representation of an Eleanor cross are shown behind the 
 figures of Torel and William of Ireland. 
 
 WILLIAM OF IRELAND. 
 
 143. William ot Ireland. British sculptor : lived in the 
 latter part of the thirteenth century. He was employed upon 
 the decoration of several of the crosses erected by Edward I. to 
 the memory of his Queen Eleanor. His name appears in the 
 accounts of the expenditure on these crosses. He was paid five 
 marks for each statue, and various sums for metal work. On 
 the cross at Northampton, some of his statues are still to be 
 seen. He supplied fifteen statues for the crosses at Stony Strat- 
 ford, Dunstable, and St. Alban’s. 
 
 VERROCCHIO. 
 
 144. Andrea del Verrocchio. Italian sculptor : born at 
 Florence in 1432, was a sculptor, painter, and goldsmith. 
 Many of his works still exist : the most famous is the eques- 
 trian statue of the Venetian General, Bartolomeo Colleoni, now 
 
70 
 
 PRINCE CONSORT NATIONAL MEMORIAL. 
 
 standing on the Piazza St. Giovanni e Paolo, at Venice ; 
 it was his last work, and was not finished till after his death, 
 which is said to have been caused by fatigue and over exertion 
 in preparing the moulds. L. da Vinci and Perugino were his 
 most celebrated pupils. It is related that on his death bed he 
 pushed aside an interiorly executed crucifix, which a priest held 
 over him. 
 
 DONATELLO. 
 
 145. Donato di Niccolo di Betto Bardi. Italian sculp- 
 tor : born at Florence in 1386. He greatly advanced the art of 
 sculpture, and executed numerous statues and bas reliefs, many 
 of which still remain in Florence, Padua, Naples, &c. Among 
 his most famous works are the statues of St. Mark, St. Peter, 
 and St. George, in the Or San Michele at Florence. These 
 statues are full of life, and Michael Angelo, after admiring the 
 statue of St. George in silence for some time, suddenly ex- 
 claimed “March he also addressed the statue of St. Mark, 
 and said, ‘ ‘ Mark, why dost thou not speak to me ? ” A small 
 model of the St. George is here placed in the hands of Dona- 
 tello. 
 
 MICHAEL ANGELO. 
 
 146. Michael Angelo Buonarotti. Italian sculptor 
 (see No. 60). His design for the tomb of Lorenzo di Medici is 
 indicated in the background. 
 
 TORRIGIANO. 
 
 147. Pietro Torrigiano. Italian sculptor : born at 
 Florence in 1470. Whilst studying in the gardens of St. Mark 
 with Michael Angelo and others, in a fit of angry jealousy he 
 struck Michael Angelo and crushed his nose. Fie then fled to 
 Rome, and became a soldier for a short time, and coming to 
 England he was patronized by Henry VIII. He executed the 
 tombs of King Henry VII. and Margaret of Richmond at 
 Westminster Abbey ; and there is also a terra cotta monument 
 of Dr. Young in the Rolls chapel by him. He afterwards went 
 to Spain, but having been accused of impiety and heresy, he was 
 imprisoned by the Inquisition, and to avoid being burnt as a 
 heretic, he starved himself to death in prison at Seville in 1522. 
 He is thus described by Cellini : “ this man was a magnificent 
 figure, of a most audacious deportment ; he had the look of a 
 large trooper rather than a sculptor.” 
 
 GIAN. DI BOLOGNA. 
 
 148. Griovanni di Bologna. Italian sculptor : was of 
 Flemish origin, having been born at Douai, about 1530. It is 
 
SCULPTURES OF THE PODIUM. 
 
 71 
 
 uncertain why he was called “di Bologna,” as he generally re- 
 sided in Florence ; it may have been on account of his famous 
 work, the fountain in the Piazza di San Petronio at Bologna. 
 He executed many celebrated works, especially in bronze. His 
 best known statue is the “ Mercury,” now in the museum at 
 Florence. Dupaty said of it, “que ceux qui d&drent voir le 
 Mercure de bronze par J. de Bologne, se Latent : le voila qui 
 d6ja s’ en vole.” He died at Florence in 1608. 
 
 VISCIIER. 
 
 149. Peter Vischer. German sculptor : born at Nurem- 
 berg in 1 456. Pie passed his life in that city, and his most 
 famous work is the bronze shrine of St. Sebald, still in fine 
 preservation in the Sebaldus Kirclie : it was executed by himself 
 and his sons “for the praise of Almighty God alone, and the 
 honour of St. Sebald, prince of heaven.” The sculptor’s own 
 figure occupies a central niche in this monument, and from it 
 the present statue is copied. Other fine works by Vischer are 
 to be found at Breslau, Magdeburg, Wittenberg, Ratisbon, and 
 Ascliaffenburg. 
 
 BANDINELLI. 
 
 150. Baccio Bandinelli. Italian sculptor : born at 
 Florence in 1487. He was a jealous rival of Michael Angelo, 
 and also of Cellini. His chief works are at Florence, and his 
 group of “ Hercules and Cacus ” was executed to rival the statue 
 of David by Michael Angelo. Vasari accuses him of having, 
 from jealousy, destroyed Michael Angelo’s “cartoon of Pisa.” 
 He is said to have furnished designs for the monument for 
 Henry VIII., proposed to be erected at Windsor. He made a 
 restoration of the antique group of the Laocoon. He died at 
 Florence in 1559, and his tomb, executed by himself, is in the 
 church of the Annunziata : on it is a Pieta, with figures life 
 size, and his own figure is introduced as Nicodemus, supporting 
 the body of Christ. On the frieze at the back are the profiles 
 of himself and his wife. 
 
 CELLINI. 
 
 151. Benvenuto Cellini. Italian sculptor : born 
 Florence in 1500. He was an artist of great original power, and 
 executed many works both in marble and metal. He went to 
 Rome in 1518, and remained there for twenty years : he after- 
 wards visited France, and in 1545 returned to Florence, where 
 he was occupied for four years on his most celebrated work — the 
 statue of Perseus. The figure is of heroic size, naked, and has 
 
72 
 
 PRINCE CONSORT NATIONAL MEMORIAL. 
 
 on its head a winged helmet, and talaria, or wings, on its ankles : 
 in the left hand it holds the head of Medusa, whose body lies 
 below at its feet. A representation of this statue is shown by 
 Mr. Philip. Many of Cellini’s works are to be found in Eng- 
 land and France : a shield and other specimens of his art are at 
 Windsor Castle. He has left us a most entertaining autobio* 
 graphy. He died at Florence in 1571. 
 
 BACCXO D’AGNOLO. 
 
 152. Baccio d’Agrnolo. Italian sculptor : born in 1460 : 
 was an architect as well as a sculptor : was celebrated for his 
 wood carvings and inlaid work. The stalls of Santa Maria 
 Novella, at Florence, were his first work ; they have been, 
 removed. He also carved the altar for the church of the 
 Annunziata. As an architect, he built the Bartolini and other 
 palaces in and near Florence, and decorated several of them 
 with sculpture. A marble singing gallery carved by him is 
 now in the South Kensington Museum : it was removed from a 
 church in Florence. He lived to a vigorous old age, and died 
 iu 1543, aged 83 years. 
 
 GOUJON. 
 
 153. Jean Goujon. French sculptor : born in 1515. 
 He was an architect as well as a sculptor, and assisted at the 
 rebuilding and decoration of the Louvre in 1547. Many of his 
 works were destroyed during the French Revolution ; but his 
 finest work, the 4 ‘Diane Chasseresse,” said to be a portrait of 
 Diana of Poictiers, is now in the Louvre. He was a Hugue- 
 not, and was shot during the massacre of St. Bartholomew, 
 whilst he was at .work on the fountain in the Marche des 
 Innocents, 24 August, 1572. 
 
 PALISSY. 
 
 154. Bernard Palissy. French sculptor : born in a vil- 
 lage near Perigord in 1509. He was first educated as a glass 
 painter ; but an old Italian cup having excited his admiration, 
 lie endeavoured to practise the art of pottery, and made many 
 experiments to discover a fine enamel glaze. He was a Hugue- 
 not, and his religious opinions were the source of much trouble 
 to him ; at one time he was thrown into prison at Bordeaux, 
 and condemned to death : he was released by Catherine dei 
 Medici and removed to Paris. His great love of nature, and of 
 the fields and woods, led him to decorate his works with 
 numerous objects of natural history, and thus to create that 
 style of the potter’s art (Palissy ware) to which his name has 
 
SCULPTURES OF THE PODIUM. 
 
 73 
 
 been subsequently attached. He left some remarkable literary 
 works, especially one on natural history. In 1585, on account 
 of his religion, he was imprisoned in the Bastile, and he died 
 there in 1589. This figure holds a specimen ^f Palissy ware in 
 the right hand. 
 
 BONTEMPS. 
 
 155. Pierre Bontemps. French sculptor : lived in the 
 early part of the sixteenth century. But little is known of 
 this artist. His most celebrated works are the bas-reliefs, 54 in 
 number, for the tomb of Francis I. They are now preserved 
 in the Museum of the Louvre. 
 
 PILON. 
 
 156. Germain Pilon. French sculptor : born at a village 
 near Le Mans, in 1535, and went to Paris in 1550. He was the 
 sculptor of the Renaissance period in France after Goujon. His 
 most celebrated works are 4 ‘The Three Graces ” in the Louvre, 
 bronze statues at St. Denis, and a fine monument to Du Bellay 
 at Le Mans. He was in great favour with Henry II. and 
 Charles IX. He died at Paris in 1590. 
 
 CANO. 
 
 157. Alonzo Cano. Spanish sculptor : born at Granada 
 in 1600. He was an architect and painter as well as sculptor, 
 and has been called the Michael Angelo of Spain. He went to 
 Madrid at an early age, became very popular, and was soon ap- 
 pointed painter to the King. At a later period of his life lie 
 entered the church, but still devoted himself to art. His chief 
 works are to be found at Granada, Seville, Cordova, and 
 Madrid. The ruling passion, for correct art, is said to have been 
 with him strong in death ; for he turned away from a badly 
 executed crucifix, which was held towards him by the priest, 
 when administering extreme unction to him. A similar anec- 
 dote is related of Andrea del Verrocchio. He died at Madrid 
 in 1676. 
 
 STONE. 
 
 158. Nicholas Stone. English sculptor : born at Wood- 
 bury, near Exeter, in 1586 : he was employed as master mason 
 by James I. and Charles I. His most important works are- — 
 the tomb of Sir Thomas Bodley, at Oxford ; that of Sutton, at 
 the Charter House ; and the monuments to the poet Spencer, 
 Casaubon, Sir G. Holies, Lord Dorchester, and the Countess of 
 Buckingham, at Westminster Abbey. His note-book, which 
 
74 
 
 PRINCE CONSORT NATIONAL MEMORIAL. 
 
 was in the possession of Vertue, the engraver, contains many 
 interesting memoranda respecting the work carried ojut by him. 
 He also executed the gates of Holland House, at Kensington. 
 He died in 1(347, and was buried in St. Martin’s Church, where 
 there is a tablet on the north wall bearing his portrait, and an 
 inscription to his memory. 
 
 BERNINI. 
 
 159. Giovanni Lorenzo Bernini. Italian sculptor : born 
 at Naples in 1598. He spent most of his life at Rome, where 
 he exercised great influence over all works of art. When only 
 eighteen years of age, he produced the group of Apollo and 
 Daphne, one of his finest works. A representation of this 
 group is shown in the background. He worked on St. Peter’s, 
 designed the colonnade in front, and the tabernacle over the 
 high altar. The monuments to the Popes Urban VIII. and 
 Alexander VII., in St. Peter’s, are by him. In 1663 he went 
 to Paris and furnished designs for decorative works at the 
 Louvre ; he also executed busts of Louis XIV. and other per- 
 sonages in France. The triple portrait of Charles I., by Van- 
 dyck, in full face and both profiles, now at Windsor, was sent 
 out to Bernini at Rome to enable him to make a marble bust of 
 the King ; this bust was lost in the fire at Whitehall. There is 
 a monument to Lady Jane Cheyney by him in Chelsea Church. 
 He died in 1680. 
 
 CIBBER. 
 
 160. Caius Gabriel Cibber. Danish sculptor : born at 
 Flensburg, in Holstein, in 1630. He studied at Rome, and after- 
 wards settled in London, where he was first employed by John, 
 the son of Nicholas Stone. He executed the statues for the 
 Royal Exchange, which was destroyed by fire in 1838. His 
 two figures of Melancholy and Madness were formerly over the 
 gate of old Bedlam Hospital : in 1814, when the Hospital was 
 pulled down, they were removed, and having suffered from the 
 effects of the London atmosphere, they were restored by Bacon, 
 junr., and then placed in the hall of the new hospital : they are 
 now deposited in the South Kensington Museum : they are 
 carved in Portland stone, and painted. The has reliefs of the 
 Monument on Fish Street Hill are by Cibber. He died in 
 17 00 , and was buried in the Danish Church at Well close Square, 
 which he had built at the expense of Christian V., King of 
 Denmark. 
 
 PUGET. 
 
 161. Pierre Puget. French sculptor : born at Marseille 
 in 1622 : he was a painter and architect as well as a sculptor : 
 
SCULPTURES OF THE PODIUM. 75 
 
 spent the early part of his life in Italy, hut returned to France 
 in 1653, and lived chiefly at Marseilles. Over the door of his 
 studio he placed the inscription, “ No work without exertion.’ * 
 Several of his finest works, such as the “Andromeda,” and the 
 “ Milo,” are at Versailles. There are also some fine statues by 
 him in the Cathedral at Genoa. He died 2 Dec. 1694. 
 
 GIBBONS. 
 
 162. Grinling 1 Gibbons. Engli sculptor : of Dutch 
 origin : he was born at Rotterdam, 4 April, 1648 : came to 
 England in 1667. Sir Peter Lely and John Evelyn were his 
 earliest patrons, and they recommended him to the notice of 
 Charles II. His ornamental carvings, especially in wood, are 
 very celebrated : numerous examples of his work can be seen 
 at Windsor, St. Paul’s, Oxford, Petwortli, Burleigh, &c. He 
 also carved the pedestal of Charles I.’s statue at Charing Cross, 
 and that for the statue of Charles II., at Windsor. There is a 
 fine tomb of Viscount Camden by; him at Exton Church, and the 
 statue of James II., in Whitehall Gardens, is attributed to him. 
 He died 3 Aug., 1721, at his house in Bow Street, and was 
 buried in the vaults of St. Paul’s, Covent Garden. 
 
 BIRD. 
 
 163. Francis Bird. English sculptor : born in 1667 ; 
 went to Rome and studied under Le Gros, upon his return to 
 England he worked with Gibbons and also with Cibber. We 
 have the following works by him. At St. Paul’s, the statues of 
 St. Peter, St. Paul, and St. James, the has relief of the conver- 
 sion of St. Paul in the pediment ; the has reliefs under the 
 portico of the west front, and the statue of Queen Anne. The 
 statue of Henry VI. at Eton College, and that of Wolsey at 
 Christ Church, Oxford. The monuments to Dr. Busby and to 
 Sir Cloudesley Shovel at Westminster Abbey. He died in 
 1731. 
 
 BUSHNELL. 
 
 164. John Bnshnell. English sculptor : the date of his 
 birth is not known. He is said to have studied at Rome and 
 Venice. The four statues of Sovereigns on Temple Bar are by 
 him. He also commenced an equestrian statue of Charles II., 
 but it was never completed. He made a large wooden horse in 
 imitation of the Trojan horse ; twelve men were to sit in the 
 head ; some vintners offered to buy it for a drinking booth, but 
 it was blown down and destroyed. He projected many schemes 
 which all failed, and in 1701 he died of a disordered brain : he 
 was buried in the vaults of Paddington Church. 
 
76 
 
 PRINCE CONSORT NATIONAL MEMORIAL. 
 
 ROUBILIAC. 
 
 165. Franqois Louis Roubiliac. French sculptor : born 
 at Lyons in 1695 : was educated in Paris as a stone carver, but 
 came to England at an early age and settled in London. The 
 following are celebrated works by him. The monuments to the 
 Duke of Argyll, Mrs. Nightingale, and Sir P. Warren, in 
 Westminster Abbey : the statue of Newton at Trinity College, 
 Cambridge, and the statue of Shakespeare, which belonged to 
 Garrick and is now in the British Museum. The monument of 
 Lord and Lady Bolingbroke at Battersea Church. His first 
 work was the statue of Handel for Yauxhall Gardens, for which 
 he received £20 : his last work was the monument to Handel 
 in Westminster Abbey. He died in 1762, and was buried in the 
 churchyard of St. Martin’s-in-the-Fields. 
 
 CANOYA. 
 
 166. Antonio Canova. Italian sculptor : born at Possa- 
 gno, in Yenetia, in 1757. One of the most celebrated of modern 
 sculptors, he began to design when only five years old. He 
 studied under Torretto, and in 1779 he went to Rome. His first 
 great work was “Theseus and the Centaur,” now at Yienna : 
 many of his works are in England : many also are in St. Peter’s 
 and in the Yatican Museum. A series of busts of famous 
 artists, executed at his own expense and arranged in eight 
 rooms, forms a temple of fame. The Stuart monument erected 
 in St. Peter’s, at the expense of George IY., is by Canova. His 
 memorial church at Possagno, where he is buried, was designed 
 and decorated by him. He is described as “below the middle 
 height, his eyes full of expression, and his face full of good 
 nature.” He died at Yenice in 1822. 
 
 FLAXMAN. 
 
 167. John Flaxman. English sculptor : born at York, 
 6 July, 1755. His father worked as a moulder for Roubiliac 
 and Scheemakers. He began to model when he was quite a 
 child, and became a student at the Royal Academy in 1770. 
 He then supplied designs for pottery to Wedgwood, and in 1787 
 he went to Rome ; when there he produced his outline illustra- 
 tions to Homer, Aeschylus, Dante, and Hesiod, which were 
 engraved hy Piroli and Blake. He became a member of the 
 Royal Academy in 1797, and in 1810 was appointed the Profes- 
 sor of Sculpture. The following are some of his most cele- 
 brated works : The monument of Lord Mansfield at Westminster 
 Abbey ; the group of St. Michael and Satan, at Petworth 
 
SCULPTURES OF THE PODIUM. 
 
 77 
 
 monuments of Lord Howe, Nelson, and Sir J. Reynolds, at St. 
 Paul’s Cathedral ; monuments at Lichfield, Chichester, Michel- 
 dever, &c. ; the statues on the front of Covent Garden Theatre ; 
 the Shield of Achilles, &c. He died 7 Dec., 1826, and was buried 
 in Old St. Pancras Churchyard. His design of Mercury and 
 Pandora is carved beneath his chair. 
 
 DAVID (DANGERS). 
 
 168. Jean Pierre David. French sculptor : was born at 
 Angers in 1789 : he showed much talent for sculpture at an 
 early age, and went to Paris, where his namesake, the painter, 
 gave him much assistance and advice. He produced his first 
 work, “ The Death of Epaminondas,” in 1811, and he then went 
 to study in Italy. In 1826 he was elected to the Institute, and 
 became Professor of Sculpture at the Academy. He visited 
 Germany in 1828, and then executed the bust of Goeth which 
 is now m the Library at Weimar. In 1834 he made another 
 tour to the principal cities of Germany. He executed many 
 busts, several of which are in England. The pediment of the 
 Pantheon, at Paris, is his most celebrated work ; there are 
 statues, &c., by him at Versailles, Rouen, Cambrai, Angers, &e. 
 There is likewise a collection of casts after his works in the 
 Museum of Angers. He was not related to his namesake, the 
 painter, although he was his pupil and married his niece. He 
 died at Paris, 4 Jan., 1856. 
 
 THORWALDSEN. 
 
 169. Bertel Thorwaldsen. Danish sculptor : born at 
 Copenhagen, 19 Nov., 1770. His father was an Icelander, and 
 carved figure-heads for ships in the dockyard at Copenhagen. 
 He showed talent for drawing and modelling at an early age, 
 and after studying at the Academy of Copenhagen for some 
 years, he went to Rome. There he attracted the attention of 
 Mr. Henry Hope, who purchased his first statue. Thorwaldsen 
 passed nearly his entire life at Rome ; his works are very 
 numerous, consisting of single statues, groups, busts, bas-reliefs* 
 &c. He left all his models and a collection of his works to the 
 Danish nation, to form a “ Thorwaldsen Museum.” He re- 
 turned to Copenhagen in 1838, and died suddenly at a theatre 
 on 24 March, 1844. His public funei’aLtook place on the 30th 
 March. He was about 5 feet 9 inches in height, with a broad 
 but low forehead, and late in life had long flowing grey hair. 
 
78 
 
 PRINCE CONSORT NATIONAL MEMORIAL. 
 
 THE STATUE 
 
 OF 
 
 HIS ROYAL HIGHNESS THE PRINCE CONSORT, 
 
 By John Henry Foley, E.A. 
 
 The statue represents his Eoyal Highness seated, and 
 habited in the robes and insignia of the Order of the 
 Garter. 
 
 The entire monument, as designed by Mr. Scott, was 
 intended to commemorate his Eoyal Highness the Prince 
 Consort — -first, in respect to his rank and station, as the 
 greatest personage in the United Kingdom except the 
 Sovereign ; and, secondly, as the great promoter of art, 
 science, and social virtues in our country, from the time 
 of his marriage till his death. The whole design was, 
 therefore, framed for the reception of an enthroned effigy 
 raised on a lofty pedestal, and required that the figure 
 should be designed and robed so as to express Eoyal rank 
 in a distinct and pronounced manner. It was also con- 
 sidered that the sitting posture would not only best 
 convey the idea of dignity befitting a Eoyal personage, 
 but give a more tranquil bearing to the effigy of the 
 Prince (especially as almost all the other known statues 
 represented him standing), and be more characteristic of 
 a great man, whose pursuits were ever the arts of peace. 
 
 In explaining the meaning or motive of the statue 
 which he has designed, Mr. Foley states, “the seated 
 position which has been chosen, although presenting 
 difficulties to the sculptor of the gravest nature, owing to 
 the distance from the ground at which the work will be 
 viewed, cannot but be regarded as the most suitable for 
 the purpose. If represented standing, the figure would 
 in position repeat the four figures placed on a level with 
 it, against the columns, and also the principal figure in 
 each of the four groups immediately below. This might 
 be fairly termed bad composition ; moreover, the figure 
 thus would fail to have the appearance of being enthroned 
 and presiding over all that surrounds it. 
 
 In the attitude and expression the aim has been, with 
 the individuality of portraiture, to embody rank, charac- 
 
THE STATUE OF HIS ROYAL HIGHNESS THE PRINCE CONSORT. 
 
 J. H. Foley, Sculptor. 
 
THE STATUE OF THE PRINCE CONSORT. 79 
 
 ter, and enlightenment, and to convey a sense of that 
 responsive intelligence indicating an active rather than 
 a passive interest in those pursuits of civilization illus- 
 trated in the surrounding figures, groups, and relievos. 
 
 In designing the figure with the view to its elevated 
 situation and the requirements of the arched canopy in 
 which it is placed, it was necessary to give a forward 
 inclination to the head and upper part of the body, in 
 consequence of the spectator’s position being so far below, 
 and likewise to bring the head in the centre of the arch, 
 both in the front and side view, which in relation to cor- 
 rect architectural effect was imperative. 
 
 To identify the figure with one of the most memorable 
 undertakings of the public life of the Prince— -the Inter- 
 national Exhibition of 1851, — a catalogue of the works 
 collected in that first gathering of the industry of all 
 nations is placed in the right hand. 
 
 The execution of the statue of His Royal Highness the Prince 
 Consort was in the first instance entrusted to Baron Marochetti ; 
 and his full-sized model was placed on the central pedestal in 
 April , 1867. The effect teas not satisfactory , and he therefore 
 proceeded to prepare another model , but his death , which occurred 
 in December , 1867, prevented, its completion. The Queen then 
 requested Earl Stanhope , Mr. Layard , and Mr. Charles T. New- 
 ton to report upon the condition of that model. It did not appear 
 that it would be in any way available for the purposes of the 
 Memorial , and Her Majesty , therefore , in May , 1868, placed the 
 commission for another statue in the hands of Mr. Foley. 
 
 His model ivas erected on the pedestal in July, 1870, and after 
 some corrections, it was removed in the spring of the following 
 year, when Mr. Foley commenced, the model from which the bronze 
 statue will be cast. Although its progress has been considerably 
 delayed by a very severe illness, from which he has lately suffered, 
 there is every reason to hope that the statue itself will be com- 
 pleted, and finally placed on its pedestal, in the course of next 
 year. 
 
 BRADBURY, AGB'EW, & CO., RRlNTEKS, \VHlTLt RIAfto. 
 
Now ready , with 24 Plates and Woodcuts , iWo, 12Z. 12s. 
 
 A DESCRIPTIVE AND ILLUSTRATED ACCOUNT 
 
 OF 
 
 THE NATIONAL MEMOEIAL 
 
 TO 
 
 THE PRINCE CONSORT, 
 
 AT KENSINGTON : 
 
 CONSISTING OF CHROMOLITHOGRAPHS, AND OTHER EN- 
 GRAVINGS OF THE MONUMENT AND ITS DECORATIONS ; 
 AND DETAILS OF ITS SCULPTURED GROUPS, STATUES, 
 MOSAICS, ARCHITECTURE, METALWORK, &c., DESIGNED 
 AND EXECUTED BY THE MOST EMINENT BRITISH ARTISTS. 
 
 WITH DESCRIPTIVE LETTERPRESS BY DOYNE C. BELL. 
 
 LIST OF ILLUSTRATIONS. 
 
 1. Statue of H. R. H. the Prince 
 Consort. J. H. Foley, R.A. 
 Chromolithograph. 
 
 2. General View of the • r r 
 ment. Chromolithograph . 
 
 Larger Groups of Sculpture. 
 
 3. Europe. P. Macdowell, R.A. 
 
 4. Asia. J. H. Foley, R.A. 
 
 5. Africa. W. Theed. 
 
 6. America. J ohn Bell. 
 
 Smaller Groups of Sculpture. 
 
 7. Manufactures. H. Weeks, R.A. 
 
 8. Agriculture. W. Calder Mar- 
 
 shall, R.A. 
 
 0. Commerce. T. Thornycroft. 
 
 10. Engineering. J. Lawlor. 
 
 11. and 12. Eight Bronze Statues 
 at the Angles. J. B. Philip 
 and H. H. Armstead. 
 
 13. The Bronze Statues in the 
 Spire. J. Redfern. 
 
 Sculptured High Reliefs on the Podium. 
 
 17. Poets and Musicians. 
 Armstead. 
 
 H. H. 
 
 14. Sculptors. J. B. Philip. 
 
 15. Painters. H. H. Armstead. 
 
 10. Architects. J. B. Philip. 
 
 Mosaics of the Tympana and Spandrels, by Clayton and Bell- 
 
 Chromolithographs. 
 
 18, N. &W. Fronts. — Architecture 
 and Sculpture. 
 
 20. Interior of Vault. 
 
 Architectural Details— G. G. Scott, R.A. 
 
 21. Elevation and Details oir the 
 
 Spire. 
 
 22. Vertical Section of the Mo- 
 
 nument. 
 
 19. S. & E. Fronts. —Poetry, Mu- 
 sic, and Painting. 
 
 23. Details of Metal Construc- 
 
 tion. 
 
 24. Sectional Plans. 
 
 25. Plan of Iron Girders. 
 
 ■ special copies on large paper, in full morocco, IS l . 18$. 
 
 JOHN MURRAY, ALBEMARLE STREET. 
 
9D'f) H49 -o 
 

 
 
THE PRINCE CONSORT. 
 
 With an Introduction, giving some Outlines of his Character,