Lough, the English sculptor, is another instance of self-denial and hard work. When a boy, he was fond of drawing. At school, he made drawings of horses, dogs, cows, and men, for pins: that was his first pay; and he used to go home with his jacket sleeve stuck full of them. He and his brothers next made figures in clay. Pope's Homer lay on his father's window. The boys were so delighted with it, that they made thousands of models--one taking the Greeks, and the other the Trojans. An odd volume of Gibbon gave an account of the Coliseum. After the family were in bed, the brothers made a model of the Coliseum, and filled it with fighting gladiators. As the boys grew up, they were sent to their usual outdoor work, following the plough and doing the usual agricultural labour; but still adhering to their modelling at leisure hours. At Christmas-time, Lough was very much in demand. Everybody wanted him to make models in pastry for Christmas pies,--the neighbouring farmers especially, "It was capital practice," he afterwards said. At length Lough went from Newcastle to London, to push his way in the world of art. He obtained a passage in a collier, the skipper of which he knew. When he reached London, he slept on board the collier as long as it remained in the Thames. He was so great a favourite with the men, that they all urged him to go back. He had no friends, no patronage, no money; What could he do with everything against him? But, having already gone so far, he determined to proceed. He would not go back--at least, not yet. The men all wept when he took farewell of them. He was alone in London; under the shadow of St. Paul's. His next step was to take a lodging in an obscure first floor in Burleigh Street, over a greengrocer's shop; and there he began to model his grand statue of Milo. He had to take the roof off to let Milo's head out. There Haydon found him, and was delighted with his genius. "I went," he says, "to young Lough, the sculptor, who has just burst out, and has produced a great effect. His Milo is really the most extraordinary thing, considering all the circumstances, in modern sculpture. It is another proof of the efficacy of inherent genius." [1] That Lough must have been poor enough at this time, is evident from the fact that, during the execution of his Milo, he did not eat meat for three months; and when Peter Coxe found him out, he was tearing up his shirt to make wet rags for his figure, to keep the clay moist. He had a bushel and a half of coals during the whole winter; and he used to lie down by the side of his clay model of the immortal figure, damp as it was, and shiver for hours till he fell asleep. [Footnote 1: Haydon's _Autobiography_, vol. ii., p, 155.]