Nineteenth Century. 291 same time as Gibson. He succeeded Flaxman as Professor of Sculpture at the Royal Academy in 1827. The works by which he is best known are his monumental statues, such as those of Pitt, Perceval, Fox, etc., in Westminster Abbey, and of Sir Ralph Abercrombie and Lord Colling- wood in St. Paul's Cathedral. The sculptures of the pediment of the British Museum, the equestrian statue of George III. at Windsor, that of Fox in Bloomsbury Square, of Canning in Palace Yard, and the Duke of York on the York column, are by the same artist. The fame of Sir Richard Westinacott rests principally on his having broken through the fatal habit so long prevalent in England of combining allegory with portraiture in monumental art. In the monument to Sir Ralph Abercrombie, for example, the dying hero is supported by a Highlander instead of a symbolic figure. All Sir Richard's works display good taste and finished execution. Patrick Macdowell (1799 — 1870) was an Irishman of considerable talent, whose Reading Girl, exhibited at the Great Exhibition of 1862, was universally admired. He was the sculptor of "Europe" for the Albert Memorial. Samuel Joseph (1800 — 1850) was the author of the fine statue of Wilberforce in Westminster Abbey, and that of Wilkie in the National Gallery. He found his chief employment as a modeller of busts. Musgrave Watson (about 1802—1847), a sculptor of great promise, was the author of the seated statue of Flax- man in the London University ; of a fine group of Lords Eldon and Stowell, at the University College, Oxford ; and of a bas-relief to Dr. Cameron which was destroyed in the fire at the Chapel Royal, Savoy, in 1864. Baron Marochetti (1805 — 1867) was an Italian sculptor u 2
