Nineteenth Century. 289 bas-relief monument to Collins at Chichester, the monu- ment to Lord Mansfield, and that of the Barings, in Micheldever Church, Hampshire, a group of the Archangel Michael vanquishing Satan, a figure of Psyche, one of Apollo, statues of Raphael, Michelangelo, Sir Joshua Reynolds, William Pitt, etc., etc., and his model of the shield of Achilles, are anions the most original and valu- able. The last-named, taken from the description of the shield of Achilles in the 18th book of the Iliad (by some supposed to have been a real shield, by others an ideal founded on various pieces of antique work combined into one united whole by the genius of the poet), is universally allowed to be a magnificent work of art, full of poetic feel- ing and imagination. Flaxman was scarcely les's famous for his designs of various kinds than for his sculptures ; a fine collection of both are preserved in the Hall of the University College, London. He supplied Wedgwood, the restorer of English pottery to the rank of an art, with many groups, medallions, and bas-reliefs. Sir Francis Chantrey (1788 — 1841) was eminently suc- cessful in historical and portrait statuary. His works pre- sent a striking contrast to those of Flaxman, and resemble in many respects those of Nollekens, to whom Sir Francis is said to have been indebted for assistance and encourage- ment at the beginning of his career. The group of the Sleeping Children, in Lichfield Cathedral (1818), is con- sidered Chantrey' s finest composition. Marble and bronze portraits of Pitt, Canning, George Washington, and Bishop Heber, are among his well-known works. Edward Bailey (1788 — 1867) studied under Flaxman, and acquired much of his great master's manner. He is best known by his group of Eve at the Fountain, in the eha u
