See also:British sculptor, was
See also:born in
See also:Southwark on the 24th of
See also:November 1740, the son of
See also:Bacon, a
See also:cloth-worker, whose forefathers possessed a considerable
See also:estate in
See also:Somersetshire . At the age of fourteen he was bound apprentice in Mr Crispe's manufactory of
See also:porcelain at
See also:Lambeth, where he was at first employed in
See also:painting the small ornamental pieces of
See also:china, but by his
See also:great skill in moulding he soon attained the distinction of being modeller to the
See also:work . While engaged in the porcelain
See also:works his observation of the
See also:models executed by different sculptors of
See also:eminence, which were sent to be burned at an adjoining pottery, determined the direction of his
See also:genius; he devoted himself to the imitation of them with so much success that in 1758 a small figure of Peace sent by him to the Society for the Encouragement of Arts received a prize, and the highest premiums given by that society were adjudged to him nine times between the years 1763 and 1776 . During his apprentice-
See also:ship he also improved the method of working statues in artificial
See also:stone, an
See also:art which he afterwards carried to perfection . Bacon first attempted working in marble about the
See also:year 1763, and during the course of his early efforts in this art was led to improve the method of transferring the
See also:form of the
See also:model to the marble (technically " getting out the points") by the invention of a more perfect instrument for the purpose . This instrument possessed many advantages above those formerly employed; it was more exact, took a correct measurement in every direction, was contained in a small compass, and could be used upon either the model or the marble . In the year 1769 he was adjudged the first gold medal for sculpture given by the Royal Academy, his work being a bas-
See also:relief representing the
See also:escape of
See also:Aeneas from Troy . In 1770 he exhibited a figure of
See also:Mars, which gained him the gold medal of the Society of Arts and his election as A.R.A . As a consequence of this success he was engaged to execute a bust of
See also:George III., intended for Christ
See also:Oxford . He secured the
See also:king's favour and retained it throughout
See also:life . Considerable
See also:jealousy was entertained against him by other sculptors, and he was commonly charged with
See also:ignorance of classic
See also:style . This
See also:charge he repelled by the execution of a
See also:head of
See also:Jupiter Tonans, and many of his emblematical figures are in perfect classical taste .
He died on the 4th of
See also:August 1799 and was buried in
See also:Whitfield's Tabernacle . His various productions which may be studied in St Paul's
See also:London, Christ Church and Pembroke
See also:College, Oxford, the Abbey church, Bath, -BACON, L . and
See also:Bristol cathedral, give ample testimony to his
See also:powers . Perhaps his best works are to be found among the monuments in
See also:Westminster Abbey . See
See also:Memoirs of
See also:John Bacon, R.A . (London, 18o1) ; and also vol. i. of R . Cecil's works, ed . J .
See also:Pratt (1811) .
FRANCIS BACON (BARON VERULAM, VISCOUNT ST ALBANS) (...
LEONARD BACON (1802–1881)
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