GARDENING UNDER WILLIAM AND MARY 219 
It is not known who these spirited portraits are by; they 
probably date from about the year 1700, so are rather early for 
the work of Rysbrack (1693-1770) or Roubiliac (1695-1762). 
Most of the makers of these lead statues came from abroad. 
One founder was Peter Scheemakers, who migrated from 
Antwerp to London about 1735, and his partner was Laurent 
Delvaux. By far the most important of the workers in lead 
was John, or Jan, Van Nost, a Dutch sculptor, who had a studio 
in Piccadilly. He seems to have been assisted by Charpentiere, 
and also had a son who did similar work. The Piccadilly 
business was carried on after Jan Van Nost’s death by John 
Cheere, whose brother, Sir Henry, executed several of the 
monuments in Westminster Abbey. Sir Henry was probably 
the artist, and supplied the designs, while John was the manager 
and owner of the foundry. A large proportion of the known 
lead work issued from Van Nost’s workshop, and the Melbourne 
ornaments were cast there. The subjects were not always 
original, and copies of Giovanni de Bologna were frequent. The 
kneeling figure of a blackamoor was a favourite design, and also 
an Asiatic slave in the same attitude. At Melbourne they hold 
a stone slab, on which rests a lead vase. In the replicas at 
Glemham the negro’s head supports a sundial bearing the 
arms of Elihu Yale (1649-1721), the founder of Yale University 
in the United States, whose daughter married Dudley North, of 
Glemham. More than half a dozen other examples of this 
figure exist, the best known being the sundial, formerly in 
Clement’s Inn, and now in the Inner Temple Garden. Another 
fine specimen of lead work near London is the fountain with a 
Cupid and swans at Charlton, erected by Sir William Langhorne 
at the end of the seventeenth century. Caius Gabriel Cibber, a 
native of Holstein, was employed for the statues, vases, and 
fountains at Chatsworth from 1687 to 1691. The ironwork there 
was done by Jean Tijou, a Frenchman, who was the most 
prominent artist of designs for ironwork in England after the 
Restoration. Some of his best work is to be seen in Wren’s 
buildings, and he was busy at St. Paul’s from 1693 to 1711, and 
began work at Hampton Court in 1689, and was often associated 
with Talman and Vanbrugh. Most of the finest garden-gates 
throughout the kingdom were from his designs, and many of 
