ENGLISH SCULPTURE.--In England John Banks, who may be regarded as the father of English ideal sculpture, paved the way for his great successor John Flaxman, and the latter with his deep appreciation of severe simplicity and true form, his love and admiration for the Greek statues, brought into this country the classical spirit, and founded the schools of the nineteenth century. To judge by the progress which modern sculpture has made, and by the many noble works erected of late years, it is on a far safer road than during the end of the sixteenth century. In England it is not likely that there will ever be such a great school of sculpture as of the sister art of painting. The greatest hope for ideal or poetic sculpture rests with the people themselves, who must be able to appreciate and love the beautiful, and this elevation of the taste of the public can only be accomplished by artists refusing to pander to a low ideal, but fearlessly and jealously devoting themselves to the execution of those works which will touch the tenderest feelings and arouse the noblest thoughts. LOCAL SCULPTURE.--Birmingham, though possessing a fair number of sculptural monuments, can boast unfortunately but of few which show real artistic merit. In the Entrance Hall of the Free Libraries, Ratcliff Place, stands Mr. Foley’s admirable statue of Prince Albert, which is considered to be one of his finest works. The Prince is attired in the robes of the Order of the Garter. By its side is placed the companion statue of her Majesty the Queen, which was also entrusted to Mr. Foley. That artist unfortunately dying, the work was carried out by Mr. Woolner, R.A., with far from a pleasing result. Both statues are intended for the Council House. The largest, and certainly one of the most prominent, monuments in Birmingham is the bronze statue erected by the inhabitants to the memory of Admiral Lord Nelson. It is situated in High Street, and was executed by Sir Richard Westmacott. It represents Nelson in a reposeful and dignified attitude, his left arm resting upon an anchor. The background is formed of the prow of a vessel and a sail. The statue is mounted on a pedestal of statuary marble, embellished with figures. The corner posts are said to be cannon formerly in use on board the “Victory.” An auctioneer, who lived in High Street, left sixpence per week to be paid in perpetuity, out of the rent of a house, to be devoted to the cleaning of the statue.