Footprints of Famous Men: Designed as Incitements to Intellectual IndustryEdgar, John G. (John George)
General
Footprints of Famous Men: Designed as Incitements to Intellectual Industry
Edgar, John G. (John George)
Biography; Biography -- Juvenile literature
In 1820, Chantrey’s admiration of Sir Walter Scott induced him to
request the northern poet to sit for his bust. This being agreed to, it
was finished in 1822, and presented to the illustrious bard six years
later, on condition of his sitting for another, which was accordingly
executed. It ultimately passed into the possession of Sir Robert Peel.
These are by many considered not only the most felicitous of Chantrey’s
busts, but the most striking portraits of the great Borderer’s variable
countenance. The original has been viewed by multitudes at Abbotsford,
always with the highest admiration by those most qualified to judge
of its merits. The ample forehead, so full of thought and sagacity;
the penetrating eye, which had looked with rapture on many a frowning
fortress and fair landscape, and the mouth, grave but humorous,
are portrayed with rare and fascinating skill. The whole face is
represented with fine effect, and has altogether the expression likely
to be produced when Chantrey was chiseling, and laughing merrily at
some happy remark which had just escaped from the “Great Unknown.”
The few years following that on which this memorable sitting occurred,
were the busiest of the eminent sculptor’s life. Between 1823 and
1826 he is stated to have received the largest number of commissions,
and to have labored in their execution with intense devotion and
exemplary industry. Nor was he without another kind of encouragement,
which, whatever may be said to the contrary by the very persons who
would most loudly rejoice in having it, has always proved strangely
fascinating to the imaginations of men of talent. Royal and patrician
favor was freely bestowed upon him throughout his career; and he knew
how to use without abusing it. He enjoyed the countenance of successive
sovereigns, was distinguished by the honor of knighthood, and had the
comfort of believing that George the Fourth, who, with all his faults,
understood something of such matters, appreciated his artistic genius.
When this statue was erected on the grand staircase of Windsor Castle,
his Majesty, patting Chantrey familiarly on the back, said, “I have
reason to be obliged to you; for you have immortalized me.”
Public-domain text, read in full here on John Shaqi.
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