Lord Byron by Alfred Drury

Two months after the erection of the Howitts and Kirke White busts they were joined by Alfred Drury's Lord Byron. In the latter Byron's face is shown in strong profile achieved by the sculptor's decision to turn the subject's head sharply to the right. This dramatic effect is emphasised by a swathe of drapery across the chest.

Drury was assisted by the fact that he had recently been sent a collection of 'every existing portrait of any kind that can be procured'. With this 'valuable addition', he rightly hoped to 'make a really noble and true bust.' The acquisition of such material was obviously essential in the circumstances, given that only Toft was able to work from life. This explains Frampton's request to Wallis for 'all the likenesses of William and Mary Howitt you can collect.' He made a similar plea for photographs in December.

Drury visited the foundry responsible for his Byron and discovered 'that half the head didn't run in bronze; we have had to make another wax, which will mean a delay of three weeks.' This was an all too common occurrence. Fortunately all went well and by the end of May 1902 he was able to say that it was 'a magnificent cast'.

A further week's work at the foundry was necessary to provide the patina, the surface finish so critical to the appearance of the metal. Drury sent an assistant to patina the bronze on 11th August. This was a pressing concern for the sculptor who at one point grumbled that the bust looked 'dreadful'. On 15th August he pleaded with Wallis not to allow anyone to dust it. He complained that a bust by him at the Tate Gallery was 'absolutely ruined, by the man who goes round every morning with a duster and polishes it up like a door handle: if it is not touched the patina will go a beautiful colour.'