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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.

THREE:"And you hamstrung those horses."

THREE:But on looking at the matter a little more closely, we shall find that Plotinus only set in a clearer light what had all along been the leading motive of his predecessors. We have already observed that Plato’s whole mythological machinery is only a fanciful way of expressing that independent experience which the mind derives from the study of its own spontaneous activity. And the process of generalisation described in the Symposium is really limited to moral phenomena. Plato’s standpoint is less individualistic than that of Plotinus in so far as it involves a continual reference to the beliefs, experiences, and wants of other men; but it is equally subjective, in the sense of interpreting all Nature by the analogies of human life. There are even occasions when his spiritualism goes the length of inculcating complete withdrawal from the world of common life into an ideal sphere, when he seems to identify evil with matter, when he reduces all virtue to contempt for the interests of the body, in language which his Alexandrian successor could adopt without any modification of its obvious meaning.434

THREE:THE EARL OF MAR RAISING THE PRETENDER'S STANDARD. (See p. 28.)From the peace of Aix-la-Chapelle for several years little of striking interest occurred in the affairs of Britain. The public at first was rejoiced at the return of peace; but the more it looked into the results of so costly a war the more dissatisfied it grew, and the complaints were loud and general that Ministers had sacrificed the honour and interests of the nation. The Opposition, however, was at so low an ebb, that little was heard of the public discontent in Parliament; and Pitt, formerly so vociferous to denounce the war, now as boldly vindicated both it and the peace, and silenced all criticisms by his overmastering eloquence. The Government still went on granting subsidies to the German princes, though the war was at an end.

THREE: