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ONE:The post talked it over unceasingly, and commented on Landor's attitude. "He stalks around in defiant dignity and makes everybody uncomfortable," they said.The year 1743 opened with a mighty struggle on the subject of gin. In 1736, as we have seen, the awful increase of drunkenness, which was attributed to the cheapness of gin, induced a majority of the House of Commons to pass an Act levying twenty shillings a gallon duty upon the liquor, and charging every vendor of it fifty pounds per annum for a licence. Walpole at the time declared that such an attempt to place gin beyond the reach of the poor consumers would fail; that it would fail equally as a source of revenue, for it would lead to wholesale smuggling and every possible evasion of the law. The event had proved Walpole only too correct in his prognostications. So far from checking the use of gin, the Act had stimulated it enormously. The licences, so preposterously high, were wholly neglected; no duty was paid, yet the destructive liquid was sold at every street corner. Ministers now saw that, by attempting too much, every thing in this case had been lost. They were sacrificing the revenues only to sacrifice the well-being of the people. They determined, therefore, to reduce the licences from fifty pounds to one pound per annum, and at the same time to retain a moderate duty on the liquor. By this means the fatal compound would remain much at the same price, but the vendors would be induced to take out licences, and the revenues would be greatly improved, whilst the whole sale of the article would be more under the restraints of law and police. A Bill was framed on these principles, and passed rapidly through the Commons; but in the Lords it encountered a determined opposition. It was, however, carried entire, and, says Smollett, "we cannot help averring that it has not been attended with those dismal consequences which the Lords in the Opposition foretold."

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THREE: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.