Horatio is meant for the grand, private art galleries and libraries of the high Victorian era. He has been clad in a suit of stylized acanthus, echoing the chair’s own carving, and likely that of its intended surroundings. It is not hard to envision Andrew Carnegie or Henry Clay Frick enjoying a fine scotch, contemplating a newly acquired Old Master painting, and draping an elegant, cigar-holding hand over Horatio’s padded chair arm. Yet remarkably, Horatio was created for a distinctly different purpose; he was destined instead to grace the grand halls of a house of god in the late 19th century. This was surely also a decent existence for such a sophisticated piece, as long as there was some alter wine in the vicinity to make up for the lack of scotch.