THREE:Meanwhile the old principle of universal doubt could no longer be maintained in presence of the certainties already won by modern science. Man, in the time of Newton, had, as Pope tersely puts it, too much knowledge for the sceptic side. The problem was not how to establish the reality, but how to ascertain the origin and possible extent of that knowledge. The first to perceive this, the first to evolve criticism out of scepticism, and therefore the real founder of modern philosophy, was Locke. Nevertheless, even with him, the advantage of studying the more recent in close connexion with the earlier developments of thought does not cease; it only enters on a new phase. If he cannot, like his predecessors, be directly affiliated to one or more of the Greek schools, his position can be illustrated by a parallel derived from the history of those schools. What Arcesilaus and Carneades had been to Socrates and his successors, that Locke was, in a large measure, to Bacon and the Cartesians. He went back to the initial doubt which with them had been overborne by the dogmatic reaction, and insisted on making it a reality. The spirit of the Apologia is absent from Platos later dialogues, only to reappear with even more than its original power in the teaching of the New Academy. And, in like manner, Descartes introspective method, with its demand for clear ideas, becomes, in the Essay concerning Human Understanding, an irresistible solvent for 420the psychologyy and physics of its first propounder. The doctrine of innate ideas, the doctrine that extension is the essence of matter, the doctrine that thought is the essence of mind, the more general doctrine, held also by Bacon, that things have a discoverable essence whence all their properties may be deduced by a process analogous to mathematical reasoning,all collapsed when brought to the test of definite and concrete experience.This was the case with Sir James Thornhill, of Thornhill, near Weymouth. His father, however, had spent his fortune and sold the estate, and Sir James, being fond of art, determined to make it his profession to regain his property. His uncle, the celebrated Dr. Sydenham, assisted him in the scheme. He studied in London, and then travelled through Flanders, Holland, and France. On his return he was appointed by Queen Anne to paint the history of St. Paul in the dome of the new cathedral of St. Paul, in eight pictures in chiaroscuro, with the lights hatched in gold. So much was the work approved, that he was made historical painter to the queen. The chief works of the kind by Sir James were the Princess's apartment at Hampton Court, the gallery and several ceilings in Kensington Palace, a hall at Blenheim, a chapel at Lord Oxford's, at Wimpole, a saloon of Mr. Styles's, at Moorpark, and the ceilings of the great hall at Greenwich Hospital. On the ceiling of the lower hall appear, amid much allegorical scenery, the portraits of William and Mary, of Tycho Brahe, Copernicus, Newton, and others; on that of the upper hall appear the portraits of Queen Anne and her husband, the Prince of Denmark; and paintings of the landing of William at Torbay, and the arrival of George I. There are, in addition, portraits of George I., and two generations of his family. Sir James also painted the altar-piece of All Souls', Oxford, and one presented to his native town, Weymouth.
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