a Scotch cousin to lay any thing like a claim from kindred to their money, one would not unfrequently hear rumors afloat of the way in which Sir Francis was to leave his property. He made no particular secret of the matter himself that a very fair proportion of what he had would be left by will for the encouragement of English sculpture and English painting. Beyond this he never went publicly, but in private it was different, for he led one (his friend and assistant, as he called him) to believe that he who had helped so much to make his fortune should for certain share in it. So, at least, the friends of Allan Cunningham assert, and they add, that Allan himself, buoyed up in this belief, remained in the service of Sir Francis Chantrey on a very inadequate stipend. He was to receive after benefits in the shape of a handsome legacy!! Like old Volpone,

"I have no parent, child, ally, To give my substance to, but whom I make Must be my heir."

But this is not all. His tomb once made, he provided by will for its preservation. The vicar and schoolmaster of Norton have yearly sums left to them payable only "so long as his tomb shall last." He has not allowed a daisy to grow unseen about his grave, and the Norton Dominie has to instruct ten poor boys how to remove the moss and nettles from around his tomb. It is to be hoped that they may not go out in the night and realize the poetic description of Blair :

trees,

"Oft in the lone churchyard at night I've seen,
By glimpse of moonshine chequering through the
The schoolboy, with his satchel in his hand,
Whistling aloud to bear his courage up,
(With nettles skirted and with moss o'ergrown),
And lightly tripping o'er the long flat stones
That tell in homely phrase who lie below.
Sudden he starts, and hears, or thinks he hears,
The sound of something purring at his heels;
Full fast he flies, and dares not look behind him,
Till out of breath he overtakes his fellows,
Who gather round, and wonder at the tale
Of horrid apparition, tall and ghastly,
That walks at dead of night, or takes his stand
Evanishes at crowing of the cock!"
O'er some new-opened grave, and, strange to tell,

Who would not prefer to lie as Allan Cunningham lies at Kensal Green, not in a brick vault, but in his mother earth, or as Wilkie lies amid the blue-green waves of the Atlantic?

Chantrey died, the legacy was made public, it was £2000, small enough, indeed, from a man who had made so many promises, if, indeed, he did make them, and had so much to leave, and to a man who had been the means of procuring him commissions to ten times that amount, and who had been so long his faithful foreman and Connected with the tomb of Chantrey, assistant. But the inadequacy of the re- there is a story current characteristic of ward was not all; the stipulations under Sir F. Chantrey and his friend Allan Cunwhich it was left were cruel in the extreme, ningham. Chantrey, after submitting the for Chantrey, when he made his will (only drawings of his tomb to Cunningham, said, the year before he died), was well aware of the painful fact that Allan Cunningham's life was just as precarious as his own. The property was sworn under £90,000.

by way of parenthesis, and with a very serious face," But there will be no room for you!" "Room for me!" said Allan Cunningham; "I have no ambition to lie like The tomb of Sir Francis Chantrey (in the a toad in a stone for some future geologist churchyard of Norton, in Derbyshire, his to discover, or in a place strong enough to native place,) is of a most simple and sin- excite the ambition of another. No, no! gular construction. It is of wrought gran- let me lie where the green grass and the ite, a complete tank in form, with the side daisies grow waving under the winds of slabs sunk into the bottom block and ce- the blue heaven." Chantrey put his drawmented so as to answer all the purposes of ing in his portfolio, snuffed, and said noone large block. An enormous square of thing. The tomb of Alexander the Great granite covers and crowns the whole; and is now the curiosity of a museum. "Mizin this huge granite box, of his own con- raim cures wounds," says Sir Thomas struction, and three times encased in wood Browne, "and Pharaoh is sold for baland lead, lie the remains of Francis Chan- sams." trey. He had a horror of the knife, or he There is one very extraordinary part of would certainly have been embalmed. What Chantrey's will which calls for commenta thirst for worldly existence does this ex- viz., that wherein he allows his three exechibit, what a dread of corruption or re-utors, or the survivors or survivor of them, moval:or the executors and administrators of such survivor, to destroy such of his drawings,

"The grave, dread thing!

Men shiver when thou'rt named; Nature appall'd, models, and casts, as they or he may in their or his uncontrolled judgment consider

Shakes off her wonted firmness.'

not worthy of being preserved. Now it is true that one of his executors is an artist, but who are the other two? Why one is a stock-broker in the city, and the other a plain, unpretending, country gentleman. Mr. Jones may select with skill or destroy with taste, but what can one whose whole time has been spent in agricultural pursuits know of works of art? or is that man a sufficient judge of sculpture (to presume to destroy) whose nights and days have been past in the study of interest, simple and compound, the rise and fall of stocks, fresh securities, the three per cents and the three and a-halfs? The executors have destroyed, we understand, very largely; with what taste and prudence we shall see before long, when Lady Chantrey's present of her husband's casts reaches the Randolph Museum at Oxford.

Allan Cunningham did not present a stronger contrast to his friend Sir Francis in personal appearance than he did in every thing else. One was a great sculptor with out the least atom of poetry in his composition; one a great reader, the other one who never read. Chantrey cheerful, and a bon-vivant; Allan Cunningham cheerful and abstemious, yet a most excellent tablecompanion. Both self-taught, both arrived, though in different ways, to great distinction in their respective lines of life. But Chantrey never felt the want of education, Allan Cunningham always did; Chantrey had no respect for antiquity, Allan Cunningham the highest; Chantrey would import no excellencies, Allan Cunningham could never borrow enough; one realized a large fortune in his art, the other an honest and honorable sufficiency. Their last illnesses were much of the same nature; but Cunningham's was brought on from an over-worked, an over-anxious mind; Chantrey's from an inactive, and we are constrained to add, a somewhat pampered body.

We are far from strangers to the many ways in which Allan Cunningham substantially assisted Sir Francis Chantrey. He wrote his letters, digested and buckramed up his evidence upon points wherein his judgment was required, fought his battles in print and before committees, sought out new commissions, assisting and controlling his taste, suggesting new positions for figures, new proportions for his pedestals, and new turns for the folds of his draperies. He kept his accounts and his workmen in order, hushed up quarrels in their infancy, and maintained a harmony throughout the place. Chantrey was indeed fortunate in

his foreman; no man of genius ever had such a servant to assist him. The presence of Allan Cunningham gave an additional character and importance to the place. Among the thousands who saw through the studio of Sir Francis, few ever went away without having seen, as they said, Allan Cunningham; many were enlivened by his entertaining way of illustrating by anecdote and remark the dry catalogue of busts and statues before them, more courted his acquaintance, and many, very many acquired his friendship.

The following written evidence, sent in by Chantrey to the House of Commons committee on the Nelson column, preserves in many places the very words and language of Allan Cunningham:

"I cannot believe that a column, or other or

namental object, placed where this is intended to be, can injure the present appearance of the National Gallery, except so far as it may interrupt the view, and perhaps tend to lower its apparent altitude. As an ornamental object, the beauty and just proportions of a Corinthian column, as forming part of a building, are matters settled about two thousand years ago; what its effect may be, standing alone, must depend much on the base and the object which crowns the summit. An injudicious association of modern things with ancient may put the column out of the pale of classic beauty. Of the statue which is to be made I can give no opinion; but, if it be only to measure seventeen feet, its bird-like size will not be much in the way; and, if formed of Portland stone, will not be long in the way. I expect that when the column and the National Gallery are seen together in their whole extent, and at the same moment, which will be the case when viewed between Whitehall and Charing Cross, that the Gallery, as I have said before, may suffer somewhat in its apparent height; when I consider that Mr. Barry's plan of sinkbut I do not regard this as of much importance ing the base line ten or twelve feet must improve the elevation of the National Gallery considerably. I consider this position to be the most favorable that can be found or imagined for any national work of art; its aspect is nearly south, and sufficiently open on all sides to give the object placed on that identical spot all the advantage from light and shade that can be desired; to this may be added the advantage of a happy combination of unobtrusive buildings around; but to conceive a national monument worthy of this magnificent site is no easy task."

The part printed in italics conveys, as we know of our own knowledge, the very ideas and language of Allan Cunningham; yet it went the round of the papers, and was referred to among artists, as one of the happy sayings to the point of Sir Francis Chantrey. This was written and not oral evidence.

There is much good sense in what fol- | Your idea of water spouting from holes and lows, the pith of a private letter concoct- crevices in the rock-work is pleasing enough; ed by Chantrey and Cunningham to Sir Howard Douglas :

year, 1828, Sir Walter fulfilled his promise; and I finished from his face the marble bust now at Drayton Manor-a better sanctuary than my studio, else I had not parted with it. The expression is more serious than in the two former busts, and the marks of age more than eight years deeper.

"I have now, I think, stated all that is worthy of remembering about the bust, except that there need be no fear of piracy, for it has never been moulded.

"I have, &c.

"F. CHANTREY."

serene expression into that conversational look which it now wears, to the delight and admiration of thousands. The bust of Southey was a second request made in pursuance of the very sound and judicious advice of Allan Cunningham.

It would be no easy matter to enumerate the many ways in which Allan Cunningham was of the utmost use to Sir Francis Chantrey. He wrote a sketch of his life, and a glowing account of his works, in April 1820 for Blackwood's Magazine, and, in 1826, a kind of critical panegyric upon his genius for the Quarterly, in a review of Meme's Life of Canova. These articles were publicly known as his. They contain no drawing of the arrow of adulation to the head, but a just appreciation of Chantrey's works and genius. That such public notices as these were not of real benefit to Chantrey, it would be idle assertion to deny. Chantrey, at least, forgave their author-he never rewarded him rightly for such substantial services.

Now this is in the outset substantially incorrect; yet it was so written, and by Allan Cunningham, we are assured, to please Sir Francis Chantrey. In 1820, Chantrey knew nothing of Scott as a poet or a man beyond hearsay, and had never indeed seen him. He never wrote to Scott to ask him to sit; for the very suggestion and bringing about of the whole, Chantrey was indebted to his friend Cunningham. Sir Walter had come to town in 1820, and Hogg, the Ettrick Shepherd, in writing to his brother bard in London, assured him One of the many commissions obtained that Scott would consider a call from Allan for Sir Francis Chantrey, by his friend and Cunningham as a very friendly act. When foreman, was the Wellington equestrian Sir Walter had been settled a week or so statue for the City of London. A subscripat "kind Miss Dumergue's," Allan set off tion was set on foot, some ten thousand one morning with a palpitating heart to pounds collected, a kind of packed commake his half-expected visit. But before mittee called together, and a day of meethe was on his way for Piccadilly, where ing named. For what? To give the statue Miss Dumergue resided, Allan had commu- to Mr. Wyatt. The Duke of Rutland nicated to his patron (so they word it) his and Sir Frederick Trench were the prime purpose of calling upon Scott, to thank movers in this affair; they pulled the puphim for some kind message he had received pet-strings of this bronze subscription, and through a common friend. "Now," said had an artist of their own. In short, the Allan to Chantrey, "if I can get Scott to matter looked like a job, and so it struck sit, you must make his bust. Reynolds Allan Cunningham, who sounded his friend painted all the great authors of his time, Sir Peter Laurie, a member of the Commitand Phillips has painted all the great au- tee, on the matter, and inquired if there thors of our own. You must make the was no way of wresting the statue from busts of them all, and begin with Mr. Wyatt's feeble fingers into the artistic Scott." Chantrey at once consented. Al- hands of Sir Francis Chantrey. Sir Peter lan saw Scott, made known the willingness Laurie at once confirmed the impression of Chantrey, and obtained the poet's prom- of Allan Cunningham that it was a job, but ise to sit. In this way the matter rested doubted if there was any chance of upsetfor some time; Scott expected a call from ting Wyatt, so strongly was he backed. Chantrey, and Chantrey a call from Scott. Laurie, however, undertook to inquire and Neither had their expectations realized. do all he could. Members were sounded, Chantrey was for a while angry; he had nev- the story told, and Chantrey's willingness, er asked a soul to sit to him before, and the nay, anxiety, to execute the statue spoken result of his first request was far from sat-publicly about. The day came, 12th May, isfactory. Cunningham now interfered 1837; Sir Peter Laurie was in the Commitagain, and saw Sir Walter on the subject. tee room, and Allan Cunningham behind The moment that Scott became acquainted the scenes, to back Sir Peter in his battle with the circumstances, he set out with his for true art. friend Allan for the studio of Chantrey. The contest was sore; and, though ChanThe sculptor was more than pacified, he trey gained the day, it was only by a mawas highly pleased. Friendship ripened jority of one, the casting vote of the then into intimacy, and the bust grew from al lord-mayor. Twenty-nine members were

present, and their votes were thus recorded. For Chantrey-1, The lord-mayor; 2, Lord Sandon; 3, Sir Henry Hardinge; 4, Sir Claudius Hunter; 5, Alderman Birch; 6, Sir Peter Laurie; 7, Alderman Winchester; 8, Alderman Lainson; 9, Sheriff Johnson; 10, A. K. Barclay, Esq.; 11, C. Barclay, Esq.; 12, T. Burbidge, Esq.; 13, Rev. V. K. Child; 14, W. Chadwick, Esq.; 15, C. Francis, Esq. For Wyatt-1, The Duke of Rutland; 2, Earl of Wilton; 3, Viscount Beresford; 4, Sir Frederick Trench; 5, Dr. Croly; 6, B. Edington, Esq.; 7, T. Farncome, Esq.; 8, William Jerdan, Esq.; 9, J. Masterman, Esq.; 10, J. M. Rainbow, Esq.; 11, W. Richardson, Esq.; 12, D. Sal omons, Esq.; 13, E. Silon, Esq.; 14, W. Simpson, Esq.

clining the honor thus ingeniously and honorably acquired for him.

Whether Allan Cunningham was or was not forgiven by Sir Francis Chantrey for this very effective support and accession of good fortune, both in an artistic and a pecuniary sense, we shall not stay to inquire. Mr. Cunningham really was a sufferer by his very proper interference in this matter, for Chantrey left the legacy of £2000 to his friend and assistant, conditionally, that he should superintend the execution of this very statue, and be alive at its completion. Allan Cunningham superintended the work for eleven months after Chantrey's death, to the very day indeed of his own death, when the legacy became, in the eyes of the executors of Sir Francis Chantrey, a lapsed legacy. They have now declined paying what they have the power to give ; and are they in refusing, it is natural to ask, administering to the intentions of the dead? What did Chantrey do in the case of Northcote?

The works of Sir Francis Chantrey divide themselves into equestrian statues, standing statues, sitting statues, recumbent figures, groups, chiefly in strong relief and busts.

The business was opened by Trench proposing that the statue should be given to Wyatt. Dr. Croly and Mr. Jerdan supported Trench, when Mr. Charles Barclay, as was agreed upon with Sir Peter Laurie, proposed Sir Francis Chantrey. Mr. Barclay was seconded by Sir Peter. One of the committee then got up, and said that Mr. Wyatt was a great man, and deserved the statue, as he had lost much through affection for his art. To this Sir Peter replied, "I propose a greater artist, one, too, There are three equestrian statues-Sir that has no losses for the City of London Thomas Munro, George IV., and the Duke to repair, and that he will undertake it this of Wellington. Of these three, the Munro letter from my friend Mr. Allan Cunning- figure is the finest, but the horse the worst; ham will convince all." Sir Peter then the Wellington horse the best, the figure read a letter on the subject from Allan the worst. Of his standing statues, some Cunningham. "Now all this is vastly eighteen in number, we prefer, far above well," said Sir Frederick Trench, "but all others, Grattan, Washington, Malcolm, who will sanction what Mr. Cunningham and Canning. Of his sitting statues, some says?"-"I will!" said Lord Sandon. eighteen in number, we prefer James Watt, "Whatever Mr. Cunningham has written on this subject, Sir Francis Chantrey, I know, will sanction." This unexpected turn settled the matter, for Lord Sandon came with the Duke of Rutland and Sir Frederick Trench, as it was said, to support Wyatt, and was with them, it was believed, till this stage of the business.

(the small-size figure), Dr. Cyril Jackson, and Dr. Anderson of Madras. Of his recumbent figures, some fourteen in number, the Two Children at Lichfield, the Wild. man group, Mrs. Digby and Mrs. Jordan. His reliefs are very poor. What can be worse than the Hector, the Penelope, and the Conscript Fathers of the Reform Bill signing the Magna Charta of King John?

Sir Peter Laurie has been heard to attribute the whole success of Chantrey in this His busts are beyond all praise, they are business to his friend Allan Cunningham. the heads of Sir Joshua or Vandyke in marMr. Cunningham, on the contrary, attribu-ble. Oh for a head of Shakspeare like ted all to Chantrey's high name, and the Chantrey's Sir Walter Scott! "Look," activity and intelligence of Sir Peter Laurie. When Allan Cunningham was asked in what way Chantrey had expressed his pleasure at the news of his triumph, "Oh," said Allan with a smile, "I fear he will not forgive me." The truth is, Chantrey could not bear to lie under an obligation, as it were, to his foreman, and for a while, urged on by some of his friends, he talked of de

said Coleridge, "at that head of Cline by Chantrey. Is that forehead, that nose, those temples, and that chin, akin to the monkey tribe? No, no! To a man of sensibility no argument could disprove the bestial theory so convincingly as a quiet contemplation of that fine bust."

Chantrey's fancy figures cost him too much thinking, and he was putting his rep