THREE:The struggle for ascendency proceeding, Walpole and his party secured the interest of the Duchess of Kendal, who always took care to side with that which she thought the stronger. Carteret and his party, on the other hand, secured the interest of the other mistress, the Countess of Darlington, and her sister, Madame de Platen. Whilst affairs were in this position, the two Secretaries of State, Townshend and Carteret, accompanied the king to Hanover. There came upon the tapis the question of a marriage between the Count St. Florentin, the son of La Vrillire, the Secretary of State for France, and a daughter of Madame de Platen. Madame de Platen, however, demanded that La Vrillire should be made a duke, so that in due course of time her daughter would be a duchess. George I. warmly seconded this demand; and, had Bolingbroke used his influence, there was little doubt that it would have been accomplished. But the French nobility raised a huge outcry against this honour being conferred on the family of La Vrillire, which they deemed too obscure for such a dignity. Bolingbroke, however, was seeking his own objects through the other mistress, the Duchess of Kendal; and, notwithstanding the repulse which he had received from Walpole, he still calculated that his power would prevail, and he therefore smothered his personal vexation, and remained on the side of the Duchess of Kendal and Walpole, leaving Carteret and his allies, the Platens, to fight their own battle.In sculpture at this period we stood much lower than in painting. Here we had no Hogarth, nor even a Thornhill. All that was of any value in this art proceeded from the chisels of foreigners, and even in that what an immense distance from the grand simplicity of the ancients! The sculpture of Italy and France was in the ascendant, but Bernini and Roubiliac had little in common with Phidias and Praxiteles, and our own sculptors presented a melancholy contrast to the work of artists of the worst age of Greece or Rome; there is scarcely a name that is worth mentioning. The best of the native sculptors was John[164] Bushnell, who was employed by Wren to execute the statues of the kings at Temple Bar; and Francis Bird, who was also employed later by Wren to execute "The Conversion of St. Paul," in the pediment of the new cathedral, the bas-reliefs under the portico, and the group in front, all of a very ordinary character. His best work is the monument of Dr. Busby in the transept of Westminster Abbey. Besides this he executed the monument of Sir Cloudesley Shovel, also at Westminster, and the bronze statue of Henry VI., in the quadrangle of Eton College, both very indifferent. Gibbs and Bird executed the ponderous and tasteless monument of Holles, Duke of Newcastle, at Westminster, and the fine old minster is disgraced by a crowd of still more contemptible productions of this period. These can only be equalled in wretchedness by the works of a trading school, who supplied copies in lead of ancient gods, goddesses, shepherds, shepherdesses, etc., for the gardens of the nobility, which soon swarmed in legions in all the gardens and areas in and around the metropolis. Amongst the chief dealers in this traffic were Cheere and Charpentier, who employed foreign artists, even, for such images, and it was the fortune of Roubiliac to commence his English career with the former of these traders. The three chief foreigners of this period were Rysbraeck, Scheemakers, and Roubiliac, who were copyists of the French sculptors Coysevox, Bouchardon, and Le Moyne, as these had been of Bernini.
One morning, when Gregor Samsa woke from troubled dreams
