Note 38 — LECTURE IV. PRE-RAPHAELITISM.

I intended this last sentence of course to apply to the thousand statues, not definitely to the one in immediate question, which, though tainted with the modern affectation, and the nearest example of it to which I could refer an Edinburgh audience, is the work of a most promising sculptor; and was indeed so far executed on the principles asserted in the text, that the Duke gave Mr. Steele a sitting on horse-back, in order that his mode of riding might be accurately represented. This, however, does not render the following remarks in the text nugatory, as it may easily be imagined that the action of the Duke, exhibiting his riding in his own grounds, would be different from his action, or inaction, when watching the course of a battle.

I must also make a most definite exception in favor of Marochetti, who seems to me a thoroughly great sculptor; and whose statue of Cœur de Lion, though, according to the principle just stated, not to be considered a historical work, is an ideal work of the highest beauty and value. Its erection in front of Westminster Hall will tend more to educate the public eye and mind with respect to art, than anything we have done in London for centuries.

April 21st, 1854.—I stop the press in order to insert the following paragraph from to-day's Times:—"The Statue of Cœur De Lion.—Yesterday morning a number of workmen were engaged in pulling down the cast which was placed in New Palace Yard of the colossal equestrian statue of Richard Cœur de Lion. Sir C. Barry was, we believe, opposed to the cast remaining there any longer, and to the putting up of the statue itself on the same site, because it did not harmonize with the building. During the day the horse and figure were removed, and before night the pedestal was demolished and taken away."