This fine work, though no signature is visible, is certainly from the hand of Roubiliac. The grandly chiselled and proportioned bust in nightcap and loose embroidered gown, surrounded by the accessory palette, books and lyre, are all in his manner, and no other contemporary sculptor could achieve a work at once so massive and so convincing. It would be only natural for those who erected the monument to call in the services of the sculptor to whom Lock himself had given two commissions in the College; and it is particularly interesting to find a bust in the sculptor's familiar manner, whose most famous exemplar is the Colley Cibber at the National Gallery, at Trinity, the home of the finest examples of his creative historical genius, so that the whole gamut of his portrait manner is admirably represented in the College. The author of the dignified inscription is unknown, but the touching reference to Cotes suggests the pen of Dr Smith.

HIC JUXTA CINERES CARI COTESII,

SUOS ETIAM REQUIESCERE VOLUIT

DANIEL LOCK HUJUS COLLEGII A.M.

VIR SI QUIS ALIUS,

ARCHITECTURAE, SCULPTURAE, PICTURAE, MUSICAE,

OMNIUMQUE BONARUM ARTIUM AMANTISSIMUS:

NEC PUDET INVENTAS VITAM EXCOLUISSE PER ARTES.

OBIIT. 15 JANRII 1754. AET: 69.

Since this was written, the unique copy of Roubiliac's Sale Catalogue belonging to Mr and Mrs Finberg has been generously placed at my disposal, and among the Designs for Monuments forming Lot 72 of the second day's Sale I find one “for D. Lock Esq.,” clearly the original sketch for this important work.