GEORGE GARRARD, A.R.A. 1 79 



the next few years. In 1796, he exhibited a picture 

 entitled "A Wharf near London Bridge." "Anthony 

 Pasquin " (John Williams), in his Critical Guide 

 to the Exhibition, " notices this performance with 

 satisfaction as it affords us an opportunity of ad- 

 ministering praise in consonance with our duty. 



. . . In the material parts of the outline the 

 artist has soared above his competitors and has 

 given us something very near the truth of cha- 

 racter." The critic, however, is weighed down 

 with a sense of his self-set task to "Ascertain the 

 Truth and Improve the Taste of the Realm," as 

 declared on the title-page of his guide ; and he 

 complains that " the objects are too much crowded 

 for any choice of nature unconnected with a mob." 



In 1795, we find the first indication of his taste 

 for modelling in the " Model of a Cow," exhibited 

 at the Royal Academy of that year. From this 

 date he devoted an increasing proportion of his 

 time to modelling and sculpture, if we may judge 

 by the preponderance of models, busts and kindred 

 works which represented his art in the Royal 

 Academy exhibitions. 



The idea that models of cattle might be of utility 

 to landscape painters seems to have inspired his 

 efforts in this direction, but he found himself con- 

 fronted at the outset with the difficulty that there 

 was no copyright in works of plastic art. To secure 



