ONE:It was resolved to bring the matter before Parliament. Wilberforce gave notice of motion on the subject, but falling ill at Bath, Clarkson applied to Pitt and Mr. Grenville, and was strongly supported by Granville Sharp and the London committee. Pitt had not considered the subject till it was forced on his attention by the evidence before the Privy Council; but he had come to the conclusion that the trade was not only inhuman, but really injurious to the interests of the nation. He consented to introduce the question, and, on the 9th of May, gave notice that early in the next Session Parliament would take into consideration the allegations against the slave trade, made in upwards of a hundred petitions presented to it. He recommended this short delay in order that the inquiries before the Privy Council might be fully matured. But both Fox and Burkethe latter of whom had been thinking for eight years of taking up the questiondeclared that the delay would be as cruel as it was useless; that it did not become the House to wait to receive instructions from the Privy Council, as if it were dependent upon it, but that it ought to originate such inquiries itself. Sir William Dolben supported this view of immediate action, contending that at least a Bill should be brought in to restrain the cruelties of the sea-passage, which would otherwise sacrifice ten thousand lives, as hundreds of thousands had been sacrificed before. This was acceded to. Pitt's resolution was carried by a considerable majority; and Sir William Dolben, on the 21st of May, moved to bring in a Bill to regulate the transport of slaves. Sir William stated that there was no law to restrain the avarice and cruelty of the dealers, and that the mortality from the crowding of the slaves on board was frightful.
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.Then Landor spoke to the commissary officer. "You will oblige me, Mr. Brewster, by returning those bids to the safe and by opening the door for me." He dropped the blanket, drew back his cut hand, warm and wet with blood, and wrapped it in a handkerchief very deliberately, as he waited.
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