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BACON, JOHN (1740–1799)

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Originally appearing in Volume V03, Page 152 of the 1911 Encyclopedia Britannica.
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BACON, See also:JOHN (1740–1799) , 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:Thomas Bacon, a See also:cloth-worker, whose forefathers possessed a considerable See also:estate in See also:Somersetshire. At the See also:age of fourteen he was See also: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 See also:imitation of them with so much success that in 1758 a small figure of See also:Peace sent by him to the Society for the Encouragement of Arts received a See also: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 See also:marble about the See also:year 1763, and during the course of his See also: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 See also: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 See also:compass, and could be used upon either the model or the marble. In the year 1769 he was adjudged the first See also:gold See also:medal for See also:sculpture given by the Royal See also:Academy, his work being a bas-See also:relief representing the See also:escape of See also:Aeneas from See also:Troy. In 1770 he exhibited a figure of See also:Mars, which gained him the gold medal of the Society of Arts and his See also: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 See also:Christ See also:Church, 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 See also:execution of a See also:noble See also:head of See also:Jupiter Tonans, and many of his emblematical figures are in perfect classical See also:taste.

He died on the 4th of See also:

August 1799 and was buried in See also:Whitfield's See also:Tabernacle. His various productions which may be studied in St See also:Paul's See also:cathedral, See also:London, Christ Church and See also:Pembroke See also:College, Oxford, the See also:Abbey church, See also: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:Richard See also:Cecil, See also:Memoirs of John Bacon, R.A. (London, 18o1) ; and also vol. i. of R. Cecil's works, ed. J. See also:Pratt (1811).

End of Article: BACON, JOHN (1740–1799)

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