" 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.
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