Chantrey once said to Haydon, "When I have made money enough, I will devote myself to high art." But busts engrossed Chantrey's time. He was munificently paid for them, and never raised himself above the money-making part of his profession. When Haydon next saw Chantrey at Brighton, he said to him, "Here is a young man from the country, who has come to London; and he is doing precisely what you have so long been dreaming of doing." The exhibition of Milo was a great success. The Duke of Wellington went to see it, and ordered a statue. Sir Matthew White Eidley was much struck by the genius of young Lough, and became one of his greatest patrons. The sculptor determined to strike out a new path for himself. He thought the Greeks had exhausted the Pantheistic, and that heathen gods had been overdone. Lough began and pursued the study of lyric sculpture: he would illustrate the great English poets. But there was the obvious difficulty of telling the story of a figure by a single attitude. It was like a flash of thought. "The true artist," he said, "must plant his feet firmly on the earth, and sweep the heavens with his pencil. I mean," he added, "that the soul must be combined with the body, the ideal with the real, the heavens with the earth." It is not necessary to describe the success of Mr. Lough as a sculptor. His statue of "The Mourners" is known all over the world. He has illustrated Shakespeare and Milton. His Puck, Titania, and other great works, are extensively known, and their genius universally admired. But it may be mentioned that his noble statue of Milo was not cast in bronze until 1862, when it was exhibited at the International Exhibition of that year. The Earl of Derby, in recently distributing the prizes to the successful pupils of the Liverpool College[1], made the following observations:--