ART OF SCULPTURE IN ENGLAND. 201

The following list comprises the names of artists which I have been able to collect from public docmiients : — William Torel, or rather Torelli, Alexander de Hibernia. Dymenge de Legeri, called Nicholas William the Florentine. Dymenge de Reyns. John de St. Omers. Odo, a goldsmith. Robert de Amory, a Florentine. Richard de Crundale. Richard de Stowe. Roger de Crundale. Walter de Durham. Michael Crundale. William de Suff.' (Suffolk.) Master Alexander de Abyngton, le John de Pabeham. Imaginator. Adam de Shoreditch. William de Hibernia. Michael de Canterbury. The scantiness of this record of names of artists may be easily miderstood, if it be considered that the " cementarius," who engaged for the execution of the work, was alone named in the warrant, with one exception only, in which John de Pabeham is termed "socius" with John de Bcllo, or Battle, and, as the artists were employed under the "cementarius," their names were consequently unnoticed ". The productions of Sculpture, during the reign of Ed- ward II., demand little notice ; the statue, however, of that prince at Gloucester may be ranked with the good productions of the preceding age. Until the fourteenth century, the English, as I conceive, had enjoyed few opportunities of cultivating the arts of peace ; they must have depended in a great degree on communication with Italy, and, probably, on the alliances of their princes, for many of the arts of civilization. Until the reign of Edward III. we can scarely recognise an independent style of Sculpture in England. The revolution in costume in that prince's reign produced a vast influence on Art ; the flowing draperies, and beautiful arrangement of the dresses of females, with the fine chain-mail, which adapted itself to the move- ments of the figure, and was so favourable to the exhibition of natural forms, were then discarded. The light plate armour introduced by the Italians, and adapted to German taste, together with the less graceful costume of females adopted at tliat period, checked the advancement of Sculpture, and left little scope for the aspirations of genius. The good principles ■-■ See the accounts of the executors or in England," presented to the Roxhurghe administrators of the affairs of the dcceasod Club, and fully noticed in Mr. Hunter's Queen Eleanor, published by Mr. Hotiicld curious paper in the Archaeologia, xxix. in the "Ulustrations of Household Expenses p. ]G7. VOL. III. 1) d