a winged male figure in bronze, with a female figure in ivory being crowned by the male." The 1911 Encyclopedia Britannica felt, "his premature death robbing English plastic art of its most promising representative at the time". As of 2022, the figure of Pandora is understood "as one of the many femme fatales whose deadly attraction mesmerised Victorian men."While continental sculptors experimented with the ancient chryselephantine technique in the 1840s, Bates Pandora was the first chryselephantine work by a British artist. Bates is primarily remembered as one of the most important sculptors working with the traditions of the decorative arts within the New Sculpture movement. Both through his innovative use of polychromy and his allusive subject matter, he is understood to be one of primary representatives of international Symbolism within British sculpture. Gallery References Attribution Further reading Beattie, Susan. The New Sculpture. New Haven: Yale University Press, 1983. Getsy, David. "Privileging the Object of Sculpture: Actuality and Harry Bates's Pandora of 1890." Art History 28.1 (February 2005): 74–95. Read, Benedict. Victorian Sculpture. New Haven: Yale University Press, 1982. Wilton, Andrew and Robert Upstone. The Age of Rossetti, Burne-Jones, and Watts: Symbolism in Britain. Exh. cat., Tate Gallery, 1997. Paris: Flammarion, 1997. External links The Victorian Web Tate Britain: rare Victorian sculpture - set by ketrin1407 on Flickr featuring numerous views of Bates' Pandora among others Profile on Royal Academy of Arts Collections English sculptors English male sculptors British architectural sculptors People from Stevenage 1850 births 1899 deaths 19th-century British sculptors Alumni of the City and Guilds of London Art School Associates of the Royal Academy