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TWO:Painting, like architecture, was at a very low ebb during this period, with one or two brilliant exceptions. Foreign artists were in demand, and there was no native talent, except that of Thornhill and Hogarth, which could claim to be unjustly overlooked in that preference. Sir Peter Lely was still living, but Sir Godfrey Kneller, another foreigner, was already taking his place. Kneller was a German, born at Lübeck, and educated under the best Flemish masters of the day. As he had chosen portrait-painting as his department, he hastened over to England after a visit to Rome and Venice, as the most profitable field for his practice, and being introduced to Charles II. by the Duke of Monmouth, he became at once the fashion. Kneller had talents of the highest order, and, had not his passion for money-making been still greater, he would have taken rank with the great masters; but, having painted a few truly fine pictures, he relied on them to secure his fame, and commenced an actual manufacture of portraits for the accumulation of money. Like Rubens, he sketched out the main figure, and painted the head and face, leaving his pupils to fill in all the rest. He worked with wonderful rapidity, and had figures often prepared beforehand, on which he fitted heads as they were commissioned. Sir John Medina, a Fleming, was the chief manufacturer of ready-made figures and postures for him, the rest filled in the draperies and backgrounds. Kneller had a bold, free, and vigorous hand, painting with wonderful rapidity, and much of the grace of Vandyck, but only a few of his works show what he was capable of. The beauties of the Court of William and Mary, which may be seen side by side with those of the Court of Charles II. by Lely at Hampton Court, are far inferior to Lely's.Undaunted by his defeat, he immediately offered himself for Middlesex, and there, though the mob could not vote, they could act for him. They assembled in vast numbers, shouting, "Wilkes and Liberty!" They accompanied him to the poll; they stopped all the roads that led to the hustings at Brentford, suffering no one to pass who was not for Wilkes and liberty. His zealous supporters wore blue cockades or paper in their hats, inscribed "Wilkes and Liberty," or "No. 45." At night they assembled in the streets, insisting on people illuminating their houses in honour of Wilkes; abused all Scotsmen they met; scribbled "No. 45" on the panels of carriages as they passed; made the parties in them shout their favourite cry; broke the windows of Lord Bute at the West End, and of Harley, the Lord Mayor, at the Mansion House��the same Harley, a younger brother of the Earl of Oxford, who, as sheriff, had had to burn No. 45 of the North Briton in Cornhill. By such means the mob managed to return Wilkes at the very head of the poll.

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