
ONE:Under Sir Joshua Reynolds a perfect revolution in the art of painting, as practised in England, was effected. He threw aside past traditional fashions, and returned to nature; and his portraits at once excited the consternation of the painters of the day, and placed him in the very first rank of artists. In 1768 was established the Royal Academy, and amongst its foreign members were Benjamin West and Angelica Kauffmann. West produced all his great works in England, and, however much they may now be criticised, they showed an advance on past art in England, and had the merit of introducing modern costume for modern heroes, as in the "Death of General Wolfe," contrary to the advice of even Reynolds himself. Barry made a spasmodic attempt to lead the public back to what he deemed the classical, but in vain; and the successive appearance of Wilson, Gainsborough, and Opie, in different styles, but all genuinely English, established the public in its attachment to the true English school. Wilson, during his lifetime, indeed, was neglected, and died in poverty; but the next generation made the amende to his fame, though too late for his own enjoyment of it. To[202] Paul Sandby we owe the origin of the water-colour school, which afterwards grew so extensive and so rich in production. Amongst eminent painters of this portion of the reign we must mention Wright of Derby, Mortimer, Stubbs and Sawrey, animal painters, and Copley, who, though an American by birth, produced most of his works in England.
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ONE:Mr. Villiers's annual motion, brought forward on the 25th of June, was scarcely more successful than that of Mr. Cobden. Lord John Russell still harped upon his fixed idea of a fixed duty. In his view the country suffered not from the Corn Law, but only from the form in which it was administered. He said he was not prepared to say either that the Corn Law should be at once abolished, or that the existing law should be maintained. While such was the feeble policy of the leader of that Whig party which had set up a claim to a sort of monopoly of Free Trade principles, it was no wonder that the country began to look for relief to the Minister who had introduced the tariff of 1842; but Sir Robert Peel as yet moved too slowly to rouse the enthusiasm in his favour of the Anti-Corn-Law League. "There were not," he remarked, "ten reflecting men out of the Anti-Corn-Law League, who did not believe that a sudden withdrawal of protection, whether it were given to domestic or colonial produce, would cause great confusion and embarrassment. In the artificial state of society in which we lived we could not act on mere abstract philosophical maxims, which, isolated, he could not contest; they must look to the circumstances under which we have grown up, and the interests involved. Ireland, dependent on England for a market for her agricultural produce, was a case in point. He was not prepared to alter the Corn Law of 1842, and did not contemplate it. Seeing that Lord John Russell had avowed himself a consistent friend to Protection, and was opposed to total repeal, he thought he was somewhat squeamish in flying from his difficulty, and declining to vote against the motion. As to the Corn Law, the Government did not intend to alter it, or diminish the amount of protection afforded to agriculture." On the division the numbers for the motion were[512] 124, and against it, 330. On the whole, the cause of Free Trade made but small progress in Parliament in this year, though out of doors the agitation was carried on with ever-increasing vigour. As regards Mr. Villiers's motion, the progress made was shown principally in the decrease of the majority against it. In 1842, when he first put the question of total repeal on issue before the House, he had 92 votes, and 395 against him; in 1843 he had 125 votes, and 381 against him; in 1844, 124 votes, and 330 against him.The prospects of the European war at this juncture, as observed from England, were gloomy in the extreme. The dispersion of the armies of Spain, the retreat and death of Sir John Moore, leaving the whole of the Spanish and Portuguese Peninsula under the feet of Buonaparte, disposed many to believe the power of the conqueror unassailable. The Whig Opposition made every use of this feeling to damage and, if possible, drive their rivals from office. That the Whigs, in power, would have refrained from Continental war any more than the Tories is not to be believed. They had always, when in officeexcept, in the case of Fox, for a short intervalbeen as ready to fight; but they had generally conducted their campaigns with much less ability. Now, their great organ, the Edinburgh Review, indulged in the most vehement censures on the Cabinet; charged all the adverse circumstances of the Spanish and Portuguese war to its bad management; and intimated that it was the most wicked and idiotic folly to hope to contend with Buonaparte at all. But if ever there was a time when the continuance of the war was excusable, and perhaps necessary, it was now. Great Britain had gone fully and freely into the conflict to assist the Continental nations. She had pledged herself[571] solemnly to Spain and Portugal, and to have withdrawn at this crisis would have been equally treacherous to our allies and pusillanimous as regarded the enemy. It would have been, in fact, to proclaim to the world that we had been completely beaten out of the field, that we could not do what we had promised to our allies, and that Napoleon must be left the master of Europe, and the dictator to Britain. Such a confession would have destroyed for ever the prestige of Great Britain, and justly. Ministers felt this, and never were more resolved to persevere to the end. To show that they did not for a moment despair, they signed a treaty of peace and amity with Spain only five days after the arrival of the news of the retreat and death of Sir John Moore, binding themselves never to acknowledge the authority of Buonaparte over Spain, or of any family but of Ferdinand VII. and his lineal successors. That they were supported in their views by Parliament was soon made evident by the rejection, by a majority of two hundred and eight against one hundred and fifty-eight, of a motion of Lord Henry Petty censuring the Convention of Cintra, and, by a majority of two hundred and twenty against one hundred and twenty-seven, of a motion of Mr. Ponsonby for inquiry into the conduct of the late campaign in Spain. Ministers had at length satisfied themselves that they had in Sir Arthur Wellesley a man capable of contending against the haughty tyrant of Europe. The most liberal votes were made for the prosecution of the war. The total of supplies for the year amounted to fifty-three million eight hundred and sixty-two thousand pounds, including a loan of eleven million pounds. For the army twenty-seven million pounds was voted, and for the navy nineteen million pounds. Between twenty and thirty thousand men were drafted from the militia into the regulars, and thus the army was augmented to that amount by soldiers already well trained. The loan was freely taken at a lower interest than any hitherto borrowedthe Opposition asserted, because trade was deranged, and capitalists were at a loss how to invest their money; but the Ministers contended, on the other hand, that it was solely because the war was popular with the nation. Before, however, entering into its arduous and bloody details, we must narrate some disgraceful affairs at home.
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ONE:[473]
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ONE:Foiled in these quarters, Alberoni appeared more successful in the North. A negotiation had been opened between the two potentates, so long at bitter variance, the Czar and Charles XII. of Sweden. They were induced to meet in the island of ?land, and to agree that the Czar should retain Livonia, and other Swedish territories south of Finland which he had torn from Sweden, but, in compensation, Charles was to be allowed to reconquer Bremen and Verden from George of Hanover and England, and Norway from Denmark; and the two monarchs were to unite their arms for the restoration of Stanislaus to the throne of Poland, and of the Pretender to that of Great Britain. The success of these arrangements appeared to Alberoni so certain that he boasted that the Northern tempest would burst ere long over England with annihilating fury; but even here he was doomed to disappointment. Charles[42] XII. delighted in nothing so much as in wild and romantic enterprise. Such was that of the conquest of Norway; and he was led by his imagination to commence it without delay. With his characteristic madness, he divided his army into two parts, with one of which he took the way by the coast of Norway, and the other he sent over the mountains at the very beginning of winter. There that division perished in the snow amid the most incredible horrors; and he himself, whilst carrying on the siege of Frederickshall, was killed on the 11th of December, as appears probable, by the treacherous shot of a French engineer in his service. Almost simultaneously the Duke of Maine's conspiracy against the French Government was detected, and he and his wife, together with the Spanish Ambassador, were apprehended. There was nothing for it on the part of the Regent but to proclaim war against Spaina measure which England had long been urging on him. The English declaration appeared on the 28th of December, 1718, and the French on the 9th of January, 1719.
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ONE:Far above all other English artists of this period, however, stood William Hogarth (b. 1697). There is no artist of that or any former age who is so thoroughly English. He is a John Bull from head to footsturdy, somewhat headstrong, opinionated, and satirical. He is, indeed, the great satirist of the brush; but his satire, keen as it is, is employed as the instrument of the moralist; the things which he denounces and derides are crimes, follies, and perverted tastes. In his own conduct, as on his canvas, he displayed the same spirit, often knocking down his own interests rather than not express his indignant feeling of what was spurious in art, or unjust towards himself. Hogarth was the first English painter who attracted much notice amongst foreigners, and he still remains one of the most original in genius of the British school. His subjects are not chosen from the loftier regions of life and imagination, but from the very lowest or the most corrupted ones of the life of his country and time. "The Harlot's Progress," "The Rake's Progress," "Marriage la Mode,"[163] "The March to Finchley," "Gín Lane," "Beer Lane," etc., present a series of subjects from which the delicate and sensitive will always revolt, and which have necessarily an air of vulgarity about them, but the purpose consecrates them; for they are not selected to pander to vice and folly, but to expose, to brand, to extirpate them.
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