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FORE:Agrarian outrage had thus been effectually put down by the special commission; but a much more formidable difficulty was now to be encountered by the Government, which was called upon to suppress a rebellion. In order that its origin may be understood, it will be necessary to sketch briefly the rise and progress of the Young Ireland party. It had its origin in the establishment of the Nation newspaper in 1842, by Thomas Davis, Charles Gavan Duffy, and John Mitchel. Davis was a native of the county of Cork, a member of the Church of England, and a barrister who had devoted himself to literature. He was a man of genius and enthusiastic temperament, combined with habits of study and a love of system. As a member of the Repeal Association, and as a writer in the Nation, he constantly advocated national independence. He was a vigorous writer, and also a poet. He was much respected personally by all classes, and would have exerted a powerful influence, but he was cut off by fever in the midst of his career. His memory received the honour of a public funeral, which was one of the largest and most respectable that had for some time taken place in Dublin. Mr. Duffy, the proprietor and editor of the Nation, a Roman Catholic and a native of Monaghan, had been connected with the press in Dublin. Mr. Mitchel, also a northerner and a solicitor by profession, was the son of a Unitarian minister in Newry. These men were all animated by the same burning love of Ireland, and unmitigated hatred of English domination. The Nation soon attained a vast circulation; its leading articles were distinguished by an earnestness, a fire, a power, an originality and boldness, till then unknown in the Irish press. Its columns were filled with the most brilliant productions in literature and poetry, all designed to glorify Ireland at the expense of England, and all breathing the spirit of war and defiance against the Government. In addition to the Nation, they prepared a number of small books, which they issued in a cheap form as an Irish library, devoted chiefly to the history of their country, and its struggles for independence. By their exertions, reading-rooms were established throughout the country, and a native literature was extensively cultivated. The orator of the party was Thomas Meagher, at a later period general in the American army, son of a Waterford merchant, who was afterwards member of Parliament. He was a brilliant, fluent, ardent, daring speaker; his appearance and manners were those of a gay, reckless, dashing cavalier; and his warlike harangues had won for him the designation, "Meagher of the Sword." His speeches fired his audience with wild enthusiasm. Since 1844, as we have seen, Mr. William Smith O'Brien had become the leader of this party, which differed in spirit and purpose from the Old Ireland party, of which O'Connell had been so long the leader. O'Connell's agitation even for Repeal was essentially religious. Ireland and the Roman Catholic Church were indissolubly associated in his mind. His habits as a nisi prius barrister made him an advocate more than a statesman; and having pleaded the cause of his Church for forty years, having been rewarded and retained for so doing by an annual "tribute" collected in the chapels of the kingdom, and having won his unparalleled popularity and almost kingly power by his services in this cause, he could not help regarding himself as the special champion of the Irish priests and their people. For them he courted Whig alliances, for them he abused the Tories, for them he sought Repeal, and for their sakes he deprecated war. He knew that the Protestants of Ireland would never sufficiently trust him or his ecclesiastical clients, to join them in a war against English supremacy, which they disliked far less than Roman Catholic ascendency. He knew that a war for Repeal must be a civil and religious war; and he too well remembered the horrors of 1798, and was too well aware of the[564] power of England, seriously to encourage anything of the kind. He talked indeed about fighting at the monster meetings, but he did so merely to intimidate the Government, confident of his power to hold the masses in check, and to prevent breaches of the peace. The State prosecutions and the proceedings of the Young Ireland party worked in him the painful and almost heart-breaking conviction that he had gone too far. Another essential difference existed between the two parties regarding religion. The Young Irelanders wanted to ignore religion in the national struggle. Their object was to unite all Irishmen in the great cause, to exorcise the spirit of bigotry, and to cultivate the spirit of religious toleration. But neither the Protestants nor the Catholics were prepared for this. The peasantry of the South especially would not enter into a contest in which their priests refused to lead and bless them; and these would neither lead nor bless except in the interest of their Church. This truth was discovered too late by Mr. Smith O'Brien and Mr. Meagher. The latter gentleman is said to have remarked in his prison, "We made a fatal mistake in not conciliating the Catholic priesthood. The agitation must be baptised in the old Holy Well."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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