On returning from the “Green Isle,” and having about the same period made an excursion to the Continent, he devoted himself with zeal, anxiety, and earnestness, to his professional studies and pursuits. He still continued the occupation of a certain portion of his time as a carver, and executed several figures in wood, which are still in existence as interesting memorials of the great sculptor’s earlier career. Doubtless he had his struggles, and did not forget them when better times came. On the contrary, he was ever prompt to encourage rising artists; he excused their shortcomings, and recommended their works; and when unable otherwise to serve them, though not in any respect negligent of his pecuniary concerns, he was not slow to use his purse for that purpose. Neglecting no means which might aid him in ascending the steep and slippery pathways of fame, he turned his attention to portrait-painting, and obtained some notice on account of the success of his efforts. But, like Pope, he found an insuperable barrier to excellence in the defectiveness of his sight. Meantime he had continued his exertions and improved his powers in that department of art with which his name is now associated, by modeling the human form in clay, and arraying it with pieces of drapery, studying attentively the best and most picturesque attitudes in which it could be represented. One of his first works was a bust of Mr. Raphael Smith the artist, whose paintings had exercised so much influence on his early career; but it was that of the celebrated Horne Took which gained him fame in the metropolis. Then appeared his colossal head of Satan, which, by its gaze of dark and malignant despair, attracted notice; and the artist had reason to look to the future with hope. When Flaxman ventured on marrying a very accomplished woman, Sir Joshua Reynolds shook his head at the perpetration of such a piece of eccentricity, and frankly told the struggling sculptor that he had thereby ruined himself for life. The spirit of prophecy did not, however, rest on Leicester Square, for to the inspiration of his wife Flaxman attributed his subsequent successes. Example is more powerful than precept; and Chantrey profiting, perhaps, by that so spiritedly set by his more classical contemporary, resolved on taking a similar step. In 1811 he married his cousin, who brought him so considerable a fortune, that he was enabled to pursue the success he had achieved with a feeling of greater security; and he was soon intrusted by the city of London to execute the statue of George the Third, to be placed in the council-chamber at Guildhall, as well as with many private commissions, which added to his reputation.