ABSTRACT
The pottery bust by Enoch Wood became the most formative likeness of Wesley, adjudged the most lifelike by some who had known him, and was used as model for several posthumous images. The circumstances of its sculpting and production, including its dating and Wesley’s influence in its appearance, are explored. Other ceramic likenesses (which would form a major further study) are mentioned, including a Coade stone bust and sculptures by both Samuel Mannings, father and son, and John Adams-Acton.
