style of Mr.
Westmacott's sculpture, and is conspicuous in the _tout ensemble_ of the
pile before us. The proportions of the statue and its ornamental
accompaniments, to the pedestal and double plinth basement, are well
regulated, and are the evident and successful result of study. The
bronze, of which the statue and bas-reliefs are composed, being covered
with a fine green patina (which has apparently been superinduced), would
have assimilated very well with the sort of grave, negative colour of
the Scotch granite, of which the pedestal is formed, had the rock on
which the Duke stands been of bronze, as well as the statue and
personifications of the seasons which are designed to group with it.
This rock ought certainly not to have been of Scotch granite. The
pedestal alone should have been of this material, and all that surmounts
it of bronze. Beside that real rock is almost as unscientific in this
place, as would have been the real ermine on the Duke of Bedford's
robes, or a real wig on his head; it is almost as destructive too of the
chastity of sculpturesque effect. It gives a meager effect to the
seasons, while it mars the simplicity of what would else have appeared a
grand connected mass of imitative art. The granite and green bronze, if
kept in broad and distinct masses, would have harmonized extremely well
with the verdure of the pleasure ground in which it is placed; yet, as
it is, the whole composition, when viewed from any station near the
south end of Bedford-place, detaches with effect from the air-tint of
the distant country, excites a classic and elevated feeling, and invites
the steps of the tasteful to a nearer view.

The figure of the Duke, in allusion, presumptively, to the firmness of
his character, stands on a rock, with his right foot somewhat advanced.
His right hand is also advanced, and rests on the shaft of the plough,
while his left arm, which is somewhat too short for the figure, hangs
perpendicularly, forming a line exactly parallel to the outline of the
drapery on this left side of the statue. One side of the figure is thus
perfectly tranquil, while the other is in gentle action. What the
sculptor may conceive he has gained in effect, by _thus_ contrasting one
side of his statue to the other, he appears to us to have lost, in
losing that more easy contrast and graceful equilibrium which
distinguishes the best single figures of the ancients, and which should
not, we think, be absent from th