t could surpass Cockerill in
the representation of a horse, still most of their statues which have
been executed for the government, are certainly better than many of
those which have been placed in different parts of London.

There is a great taste for sculptural subjects in general throughout
Paris, numbers of houses which have been recently built are adorned with
statues, and an immense variety of devices and ornaments of different
descriptions, all of which afford employment for the young sculptor; in
fact there exists now quite a mania for decoration, and those mansions
which still remain of the middle ages present the same predilection for
rich carve-work and elaborate ornament which is now revived, and
undoubtedly it gives a very picturesque richness to the aspect of a
city. As a department of sculpture I certainly must not omit to state to
what a high degree the French have wrought the art of casting in bronze,
and I am sure I shall be procuring my readers a treat in directing them
to the establishment of M. De Braux d'Anglure, No. 8, Rue Castiglione;
they will there find an infinite variety of very splendid subjects, some
executed with the most exquisite delicacy, others in fine broad masses,
as animals the size of life, and some equestrian figures of the middle
ages after the first masters displaying the full merit of the original
designs. But that which is still more interesting is to visit M. De
Braux's foundry, and atelier, No. 15, Rue d'Astorg, where he takes a
pleasure in explaining the whole process requisite in casting the
different objects, and showing them throughout the various stages
through which they pass before they are completed. The French have
brought this art to a high perfection, which it appears is facilitated
by their having a peculiar sort of sand near Paris (which they cannot
find elsewhere), particularly serviceable for the purpose of casting.
The orders which come from England for works in bronze is immense;
whilst I was at M. de Braux's he was at work upon a bust of the Duke of
Wellington, which was part of what was to be a figure the size of life,
destined as a national monument (as M. de Braux understood) for some
part of London. The great art which he now practises, is that of casting
whole masses at once, instead of small bits which were joined together
according to the former method. Every amateur of the arts will find the
highest gratification in viewing the number of interesting