The Romance of the Bronze Duke.
On a green mound commanding Cæsar's Plain, Aldershot, a rider and his horse survey the landscape. Occasionally soldiers come up and salute them—sometimes singly, sometimes in companies, often in battalions. But the salute is never returned; both rider and horse remain rigid. The sun sets and finds them still at their post; it rises and they have never stirred. The explanation is simple—this giant horse and horseman are of bronze; they form the greatest equestrian group in the world.
Yet the pair have not always been thus stationary. They have been thrice moved and may be moved thrice again. Perhaps in the watches of the night on Cæsar's Plain they are thinking of their past, and of the protracted episode which once shook the society of the British capital to its centre, and in which they played the chief part. Factions raged around them ere they left their humble birthplace in the Harrow Road, and for a time the bronze enjoyed far more celebrity than its original, the Iron Duke.
SOLDIERS SALUTING THE DUKE'S STATUE, AS IT STANDS AT ALDERSHOT TO-DAY.
From a Photo. By Knight, Aldershot.
The story is well worth telling, for nobody remembers it now. Seventy years ago, although England had then no sculptors to speak of, there was a general passion for erecting statues. The statues were nearly all bad, of course, and to the decade between 1830 and 1840 the kingdom owes some of its worst atrocities in this department of art. About the time the late Queen came to the throne, a sculptor, Matthew Wyatt, was commissioned to execute a statue of George III. The result may be seen in Cockspur Street to-day. Critics complained that it was too small. The reproach greatly offended Wyatt, who roundly declared that he had not aimed at bigness, but that if size had been in question he was quite capable of modelling a statue larger than any Michael Angelo or the Indian idolmakers had ever attempted. He mentioned this to an ardent worshipper of the Duke of Wellington in the City, a Common Councilman named Simpson, who had already raised subscriptions for one Wellington equestrian group, now in front of the Royal Exchange. Simpson and Wyatt talked it over, and the result was the formation of a committee, headed by the Duke of Rutland, and the raising of fourteen thousand pounds for the erection of a memorial to the Duke in the West-end. This body duly handed the commission over to Wyatt as "in every respect eminently qualified to be entrusted with the proposed equestrian statue."
On this point it was plain that there were two opinions prevalent. Wyatt now prepared to realize his boast, and boldly announced that the equestrian statue should be of Titanic proportions. As to the site of his handiwork thereby hangs a tale. Wyatt had a friend with whom he had quarrelled, named Decimus Burton. This Burton, an architect, had recently erected a mighty triumphal arch at the entrance to Green Park. It formed a great feature in the magnificent plan submitted to Parliament in 1827 for the "re-edification" of Buckingham Palace. In this costly design the above arch was to form the Royal entrance to the palace gardens, to be laid out to suit the rather luxurious taste of George IV.
The arch was eighty feet high. Burton's original idea was to embellish the main piers with groups of trophies; to place the figure of a warrior on each stylobate; to enrich the base with a sculptural representation of an ancient triumph; to place a statue over each column; and various other embellishments. But all this ambitious plan was instantly shortened by Wyatt's declaring his intention of placing his colossal statue not in the middle of Hyde Park, or even of Green Park, or Kensington Gardens, but on the very summit of Burton's arch!
The unfortunate architect was beside himself with rage at the suggestion. He protested, but he protested in vain. The complaisant committee had quite fallen in with Wyatt's idea. But it was not so the Government, the Royal Academy, and the Press. They heaped ridicule upon both the project and the sculptor. They roundly declared that it would ruin the unity and symmetry of his building. Then began an acrimonious discussion between the friends of Wyatt and the objectors to his proposed statue. All London divided itself into factions. The common topic of drawing room and dinner conversation was, "Are you for or against putting a gigantic Iron Duke on the top of the arch?" "Brazen impudence!" wrote Thackeray, himself an artist.
Meanwhile, in the studio in the Harrow Road, opposite the Dudley Arms Tavern, the lucky sculptor had been proceeding with his task. He prepared several models and designs, and the sub-committee availed themselves of a model of the Hyde Park Corner arch to consider, which they did with the greatest attention, the position and relative size of the statue to be placed on the summit. Wyatt then prepared a drawing of the arch with the equestrian statue, of which the sub-committee approved.