ose of the moderns. If, however,
grandeur by these means be substituted for gracefulness, art and the
public are amply compensated, and the sculptor should be honoured for a
successful deviation from ancient authority and established principle.
We are only sorry to add, that in our opinion it is not.

The features of the Duke's face are very judiciously generalised, or
_idealised_ (as is the phrase among artists) to that degree which raises
the mental character of the head, and while it retains all those
peculiarities which are essential to portraiture, renders an individual
countenance more fit for the purpose of the sculptor, and perhaps
impresses a likeness more forcibly than minute finishing, especially at
a height of eighteen or twenty feet from the eye of the spectator. The
neck is increased in thickness, so as to give an Herculean air and
character to the bust: which yet, on the whole, so strongly resembles
that of the original, that it is immediately recognised by all who
remember the Duke of Bedford's person.

Of the drapery, the general style is broad, square, and masterly. The
peculiarities of the English ducal robes are sufficiently attended to,
and sufficiently simplified; but the ermined part we esteem unfortunate
(as much of it at least as is seen in the front view of the figure) as
it disturbs the contour of the folds, and has a clumsy and
unsculpturesque appearance.

Proceeding downward in our remarks, we now arrive at Mr. Westmacott's
personification of the seasons, where we find he has departed in some
measure from former analogies, without, in every instance, substituting
better.

We have already remarked that these genii have a meager effect, and have
endeavoured to account for it by supposing it to be principally owing to
the ill-judged mixture of materials and colours, of which this part of
the pile consists. Yet beside this defect, in every view but that from
the westward, these figures appear to want grouping and connexion.
Seasons, which are blended in their real existence, should probably not
be disconnected, nor thrown out of their natural order, in their
allegorical representation. No man desires to see the backside of
Spring unless Summer follow; and had Summer and Autumn been visible from
the principal approach, an association of ideas would have been excited,
more genial and more appropriate to the agricultural character of the
monument, if not to the _known bounty_ of the late Duke o