n is drawn between this and the inductive
method; "though the rational method of inquiry by the Organon promises far
greater things in the end, yet this sagacity, proceeding by learned
experience, will in the meantime present mankind with a number of
inventions which lie near at hand." (Cf. _N. O._ i. 103.)

[95] See the vigorous passage in Herschel, _Discourse on the Study of
Natural Philosophy_, s. 105; cf. s. 96 of the same work.

[96] Bacon himself seems to anticipate that the progress of science would
of itself render his method antiquated (_Nov. Org._ i. 130).

[97] _Nov. Org._ i. 127.

BACON, JOHN (1740-1799), British sculptor, was born in Southwark on the
24th of November 1740, the son of Thomas Bacon, a cloth-worker, whose
forefathers possessed a considerable estate in Somersetshire. At the age of
fourteen he was bound apprentice in Mr Crispe's manufactory of porcelain at
Lambeth, where he was at first employed in painting the small ornamental
pieces of china, but by his great skill in moulding he soon attained the
distinction of being modeller to the work. While engaged in the porcelain
works his observation of the models executed by different sculptors of
eminence, which were sent to be burned at an adjoining pottery, determined
the direction of his genius; he devoted himself to the imitation of them
with so much success that in 1758 a small figure of Peace sent by him to
the Society for the Encouragement of Arts received a prize, and the highest
premiums given by that society were adjudged to him nine times between the
years 1763 and 1776. During his apprenticeship he also improved the method
of working statues in artificial stone, an art which he afterwards carried
to perfection. Bacon first attempted working in marble about the year 1763,
and during the course of his early efforts in this art was led to improve
the method of transferring the form of the model to the marble (technically
"getting out the points") by the invention of a more perfect instrument for
the purpose. This instrument possessed many advantages above those formerly
employed; it was more exact, took a correct measurement in every direction,
was contained in a small compass, and could be used upon either the model
or the marble. In the year 1769 he was adjudged the first gold medal for
sculpture given by the Royal Academy, his work being a bas-relief
representing the escape of Aeneas from Troy. In 1770 he exhibited a figure
of Mars, whi