and felt his loyal little heart burning within him as he sang the Marseillaise before the bust of Marat or Robespierre. It makes us feel that it is the direct outcome of real feeling—experienced at first hand. THE RISE OF ENGLISH SCULPTURE The sculpture of Rude leads naturally enough to that of Great Britain—the only other country in Europe with national emotions capable of being translated into a vital art at that time. Unfortunately, no lover of sculpture, writing in English can turn from the art of France to that of his own country without a pang. For hundreds of years, the sculptor met with no encouragement in Great Britain. The land which had nourished the genius of a Shakespeare, a Milton and a Wren, of a Gainsborough and a Reynolds, could only advance a list of shadowy names against the tangible achievements of its great rival on the other side of the Channel. In the early days of the Renaissance, there was some promise that sculpture might obtain a foothold in England as it was doing in France. Henry VIII. and Wolsey took a keen interest in the infant art, and persuaded several Italian artists to take up their abode in England. Such a tomb as that of Henry VII. in the Abbey, the contract for which was made in 1512, affords an interesting comparison with the tombs of the French kings of the sixteenth century. It was the work of the Italian Torrigiano, best known nowadays as the breaker of Michael Angelo’s nose. Unfortunately, Torrigiano was the greatest, and not the least, of the band of foreign artists who came to England in those days. Consequently, our native sculptors never had the advantage of seeing men like Leonardo da Vinci and Andrea del Sarto working among them. Torrigiano and Antonio Toto were poor substitutes for Cellini and Primaticcio. No one can say what would have happened had a more vigorous artistic impulse been received from the country of Michael Angelo and Donatello. But this is certain. Neither sculpture nor painting in England became the living things they were in France. While Francis I. and the three Louis were purchasing statues by Goujon and Pajou, the English kings and nobles preferred to repeat lyrical snatches by such men as Lovelace and Rochester. Almost the only British sculptures from the end of the Tudors to the middle of the reign of George III. were the memorial monuments which still decorate our older churches. For the rest, there was such a work as the Nightingale monument by the foreigner Roubilliac, the still-life carvings of Grinling Gibbons, and the fine tombs by Nicholas Stone in Westminster Abbey.