Gradually the edifice approached completion. The one hundred and seventieth life-size figure in the frieze was chiselled, the granite pillars arose, the mosaics were inserted in the allegorical pediments, the four colossal statues representing the greater Christian virtues, the four other colossal statues representing the greater moral virtues, were hoisted into their positions, the eight bronzes representing the greater sciences--Astronomy, Chemistry, Geology, Geometry, Rhetoric, Medicine, Philosophy, and Physiology--were fixed on their glittering pinnacles, high in air. The statue of Physiology was particularly admired. 'On her left arm,' the official description informs us, 'she bears a new-born infant, as a representation of the development of the highest and most perfect of physiological forms; her hand points towards a microscope, the instrument which lends its assistance for the investigation of the minuter forms of animal and vegetable organisms.' At last the gilded cross crowned the {239} dwindling galaxies of superimposed angels, the four continents in white marble stood at the four corners of the base, and, seven years after its inception, in July 1872, the monument was thrown open to the public. But four more years were to elapse before the central figure was ready to be placed under its starry canopy. It was designed by Mr. Foley, though in one particular the sculptor's freedom was restricted by Mr. Scott. 'I have chosen the sitting posture,' Mr. Scott said, 'as best conveying the idea of dignity befitting a royal personage.' Mr. Foley ably carried out the conception of his principal. 'In the attitude and expression,' he said, 'the aim has been, with the individuality of portraiture, to embody rank, character, and enlightenment, and to convey a sense of that responsive intelligence indicating an active, rather than a passive, interest in those pursuits of civilisation illustrated in the surrounding figures, groups, and relievos.... To identify the figure with one of the most memorable undertakings of the public life of the Prince--the International Exhibition of 1851--a catalogue of the works collected in that first gathering of the industry of all nations, is placed in the right hand.' The statue was of bronze gilt and weighed nearly ten tons. It was rightly supposed that the simple word 'Albert,' cast on the base, would be a sufficient means of identification.[26] [1] Clarendon, II, 251. [2] Vitzthum, II, 161. [3] Stockmar, 49; Ernest, IV-71 [4] Clarendon, II, 251, 253. [5] _Letters_, III, 474-5. [6] _Letters_, III, 476. [7] Lee, 322-3; Crawford, 368. [8] Clarendon, II, 257. [9] Clarendon, II, 261-2. [10] Martin, _Queen Victoria_, 155. [11] Clarendon, II, 261; Lee, 327; Martin, _Queen Victoria_, 30. [12] Robertson, 156.