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THREE:Meantime Cambac��r��s and Fouch�� had dispatched couriers to Louis Buonaparte, in Holland, to march down troops to the defence of Antwerp; and he had not only done that, but had opened the sluices on the borders of the Scheldt, and laid the country under water, to prevent the march of the British. He also had ordered the erection of numerous batteries, and Bernadotte arrived in about a fortnight, by orders of Napoleon, to resist the advance of the British. From forty to fifty thousand troops were assembled in and around Antwerp, and hosts of Dutch and Belgian militia swarmed over the country. This was certain to be the case if any time was allowed, and it was now agreed, in a council of war, that it was not possible to proceed further. In fact, they were no longer allowed to remain where they were. Their provisions were rapidly being exhausted, sickness was spreading amongst the troops, and the fire of the enemy's batteries from both sides of the river compelled them to fall down the stream. That was the end of the campaign; the rest was a foolish and murderous delay in the island of Walcheren, without any conceivable purpose. There was no use in retaining the island, for we could at any time blockade the mouths of the Scheldt, and our men on board the ships were comparatively healthy; but in this swamp of death the soldiers continued dying like rotten sheep. The island of Walcheren, to which they were now confined, is a spongy swamp, below the level of the sea at high water. The wet oozes through the banks, and stagnates in the dykes, and is only capable of being pumped out by windmills. The ground is covered often with mud and slime, and the inhabitants are sickly and sallow in aspect, and of loose and flaccid muscles. Yet, in this den of fever and death, the commanders seemed determined to retain the army till it perished entirely. The Earl of Chatham himself returned to London on the 14th of September, with as many of the sick as he could take. At this time he left eleven thousand, out of the seventeen thousand quartered on the island of Walcheren, on the sick-list, and rapidly dying; yet neither he nor Sir Eyre Coote, who succeeded him, seems to have felt the necessity of saving the army by retiring from the place. They attributed the unhealthiness to the dykes being cut, and the surrounding country being flooded in the hot season. No matter what was the cause, the army was perishing, and ought to have been removed; but, so far from this, the Ministers seemed determined to keep possession of this useless and pestilential swamp at any cost. As it was imagined that the drinking of the water was the cause of the fever, Thames water was carried over for the troops, five hundred tons per week being required. But it was not the drinking it only that caused disease and death, but the standing and working in it, as many of them did, up to the middle for many hours together, and the malaria arising from the oozy soil. As the roofs in Flushing were knocked to pieces by the storming of the town, British workmen, with bricks, mortar, tiles, and tools, were sent over to repair them, so as to protect the sick in the hospitals, though plenty of workmen and materials might have been had in the country.

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THREE: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 foot��sturdy, 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. Reach Us Below:

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