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 as ready to model plaster busts of his townsmen, as well as paint portraits of them. He was even selected to design a monument to a deceased vicar of the town, and executed it to the general satisfaction. When in London he used a room over a stable as a studio, and there he modelled his first original work for exhibition. It was a gigantic head of Satan. Towards the close of Chantrey's life, a friend passing through his studio was struck by this model lying in a corner. "That head," said the sculptor, "was the first thing that I did after I came to London. I worked at it in a garret with a paper cap on my head; and as I could then afford only one candle, I stuck that one in my cap that it might move along with me, and give me light whichever way I turned." Flaxman saw and admired this head at the Academy Exhibition, and recommended Chantrey for the execution of the busts of four admirals, required for the Naval Asylum at Greenwich. This commission led to others, and painting was given up. But for eight years before he had not earned 5l. by his modelling. His famous head of Horne Tooke was such a success that, according to his own account, it brought him commissions amounting to 12,000l.

Chantrey had now succeeded, but he had worked hard, and fairly earned his good fortune. He was selected from amongst sixteen competitors to execute the statue of George III. for the city of London. A few years later he produced the exquisite monument of the 'Sleeping Children,' now in Lichfield Cathedral,—a work of great tenderness and beauty; and thenceforward his career was one of increasing honour, fame, and prosperity. His patience, industry, and steady perseverance were