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FORE:While affairs were in this state, the Prince of Wales died (March 20, 1751). He had been in indifferent health for some time, and had injured his constitution by dissipated habits. He was forty-four years of age, of a weak character, which had led him into excesses, and the consequences of these were made worse by great neglect of his health. The same weakness of character had made him very much the tool of political faction, and placed him in an unnatural opposition to his father. An attempt was made by Lord Egmont to keep together the prince's party. He assembled a meeting of the Opposition at his house on the morning of the prince's death, and hinted at taking the princess and her family under their protection; and he recommended harmony among themselves; but some one said, "Very likely, indeed, that there should be harmony, when the prince could never bring it about;" and so every one hastened away to look after themselves. It was no sooner seen that there was an understanding between the Princess of Wales and the king than numbers of the late prince's friends offered their adhesion to the Pelhams, equally out of dread of the Duke of Cumberland and dislike of the Duke of Bedford, who was opposed to the Pelhams, and, it was feared, likely to support Cumberland, and thus place him at the head of affairs.[65]

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