_Chantrey's Sleeping Children_ (Vol. ii., pp. 70. 94.).--There is, in
Ashbourne Church in Derbyshire, a beautiful figure of a sleeping child
by Thomas Banks, R.A., from which it is generally said that Chantrey
took the idea of his celebrated monument in Lichfield Cathedral. It is a
tradition in Ashbourne, that Chantrey drew the sketch for his sleeping
children at an inn in the place, immediately after having seen Banks'
sculpture in the parish church. The monument at Ashbourne is to
Penelope, daughter of Sir Brooke Boothby, born April 11th, 1785, died
Nov. 12th, 1791, and on it there are inscriptions in four languages,
English, French, Latin, and Italian. The following description of it,
taken from _The History and Topography of Ashbourne_, may be acceptable
to some your readers, who may compare it with their recollections of
Chantrey's figures:--
"It represents a child of delicate and amiable features, who has
long suffered from slow and incurable disease, lightly, but rather
carelessly, reclining on her right side. The position of the meek
and lovely sufferer shows that she has just assumed it in order to
seek temporary relief from pain, or from the weariness that a
protracted repose, even on the softest materials, eventually
causes. The little patient is extended, in the position just
described, on a marble mattress and pillow, to which the hand of
the sculptor has communicated the apparent texture of the softest
down. The expression of the countenance is slightly indicative of
pain, felt even in the intervals of slumber; and the little hands,
lifted towards the countenance, plainly show that the sufferer has
so placed them, in order that they and the arms may be in some
measure a support to the body, and relieve it from the aching
tenderness caused by long contact with the couch on which it
rests. Around the head is bound, in loose folds, a handkerchief,
which allows the artist greater scope to exhibit the child's
features. The body-costume is a low-fronted frock with short
sleeves, most gracefully sculptured. The whole of the drapery is
in the most finished style, and the ease and softness of the folds
are an admirable proof of the delicate chiselling of the artist.
He has shown his natural and pure taste in the manner in which he
has placed the feet. The entire position of the figure is
faultless; and it represents, with refined fidelity to nature, the
female infant form, patiently and slowly perishing beneath the
steady undermining progress of irresistible decay."