THREE:He first published an engraving of "The Small Masquerade Ticket, or Burlington Gate," in ridicule of Lord Burlington's architecture, and of Pope's eulogiums on Burlington and satire of the Duke of Chandos. He illustrated "Hudibras," and produced a satirical plate, "The Taste of the Times," in 1724; and, some years after, "The Midnight Conversation" and "Southwark Fair." Not content with the fame which this vein, so peculiarly his own, was bringing him, he had the ambition to attempt the historical style, but this was a decided failure. In 1734, however, he came out in his full and peculiar strength in "The Harlot's Progress." The melancholy truth of this startling drama, mingled with touches of genuine humour, seized at once on the minds of all classes. It became at once immensely popular; it was put on the stage, and twelve hundred subscriptions for the engravings produced a rich harvest of profit. In the following year he produced "The Rake's Progress," which, though equally clever, had not the same recommendation of novelty. In 1744 he offered for sale the original paintings of these subjects, as well as "The Four Times of the Day," and "The Strolling Actresses Dressing in a Barn;" but here he felt the effects of the sturdy English expression of his sentiments on art, and his distributing of an engraving of "The Battle of the Pictures," as a ticket of admission, gave great offence to painters and their patrons. The whole sum received was only four hundred and twenty-seven pounds. Undaunted by his self-injuring avowal of his opinions, he offered in 1750 the pictures of "Marriage �� la Mode" for sale, but put forth an advertisement in such caustic terms, as he reflected on the result of his former auction, that he effectually kept away purchasers, and obtained only a hundred and twenty pounds for what Mr. Angerstein afterwards gave a thousand pounds for. His "March to Finchley" being sent for the royal inspection, so impressed George II. with the idea that it was a caricature of his Guards, that, though the engraving of it was dedicated to him, he ordered the picture out of his sight, with expressions of great indignation. Hogarth quietly substituted the name of the King of Prussia in the dedication, as "an encourager of the arts."

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THREE:In sculpture at this period we stood much lower than in painting. Here we had no Hogarth, nor even a Thornhill. All that was of any value in this art proceeded from the chisels of foreigners, and even in that what an immense distance from the grand simplicity of the ancients! The sculpture of Italy and France was in the ascendant, but Bernini and Roubiliac had little in common with Phidias and Praxiteles, and our own sculptors presented a melancholy contrast to the work of artists of the worst age of Greece or Rome; there is scarcely a name that is worth mentioning. The best of the native sculptors was John[164] Bushnell, who was employed by Wren to execute the statues of the kings at Temple Bar; and Francis Bird, who was also employed later by Wren to execute "The Conversion of St. Paul," in the pediment of the new cathedral, the bas-reliefs under the portico, and the group in front, all of a very ordinary character. His best work is the monument of Dr. Busby in the transept of Westminster Abbey. Besides this he executed the monument of Sir Cloudesley Shovel, also at Westminster, and the bronze statue of Henry VI., in the quadrangle of Eton College, both very indifferent. Gibbs and Bird executed the ponderous and tasteless monument of Holles, Duke of Newcastle, at Westminster, and the fine old minster is disgraced by a crowd of still more contemptible productions of this period. These can only be equalled in wretchedness by the works of a trading school, who supplied copies in lead of ancient gods, goddesses, shepherds, shepherdesses, etc., for the gardens of the nobility, which soon swarmed in legions in all the gardens and areas in and around the metropolis. Amongst the chief dealers in this traffic were Cheere and Charpentier, who employed foreign artists, even, for such images, and it was the fortune of Roubiliac to commence his English career with the former of these traders. The three chief foreigners of this period were Rysbraeck, Scheemakers, and Roubiliac, who were copyists of the French sculptors Coysevox, Bouchardon, and Le Moyne, as these had been of Bernini.

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THREE:One of the most appalling of the narratives sent to the Central Committee of the Society of Friends was Mr. William Bennet's account of his journey in Ireland. He left Dublin on the 12th of January, and proceeded by coach to Longford, and thence to Ballina, from which he penetrated into remote districts of the county Mayo. In the neighbourhood of Belmullet he and his companion visited a district which may serve as a representation of the condition of the labouring class generally in the mountainous and boggy districts, where they burrowed and multiplied, more like a race of inferior animals than human beings. "Many of the cabins," wrote Mr. Bennet, "were holes in the bog, covered with a layer of turf, and not distinguishable as human habitations from the surrounding moors, until close down upon them. The bare sod was about the best material of which any of them were constructed. Doorways, not doors, were provided at both sides of the latter, mostly back and front, to take advantage of the way of the wind. Windows and chimneys, I think, had no existence. A second apartment or partition of any kind was exceedingly rare. Furniture properly so called, I believe, may be stated at nil. I cannot speak with certainty, and wish not to speak with exaggeration, we were too much overcome to note specifically; but as far as memory serves, we saw neither bed, chair, nor table at all. A chest, a few iron or earthen vessels, a stool or two, the dirty rags and night coverings, formed about the sum total of the best-furnished. Outside many were all but unapproachable from the mud and filth surrounding them; the scene inside is worse, if possible, from the added closeness, darkness, and smoke.... And now language utterly fails me in attempting to depict the state of the wretched inmates.... We entered a cabin. Stretched in one dark corner, scarcely visible from the smoke and rags that covered them, were three children huddled together, lying there because they were too weak to rise, pale and ghastly; their little limbs, on removing a portion of the covering, perfectly emaciated; eyes sunk, voice gone, and evidently in the last stage of actual starvation. Crouched over the turf embers was another form, wild and all but naked, scarcely human in appearance. It stirred not nor noticed us. On some straw, soddened upon the ground, moaning piteously, was a shrivelled old woman, imploring us to give her something, baring her limbs partly to show how the skin hung loose from her bones, as soon as she attracted our attention. Above her, on something like a ledge, was a young woman with sunken cheeks, a mother, I have no doubt, who scarcely raised her eyes in answer to our inquiries; but pressed her hand upon her forehead, with a look of unutterable anguish and despair.... Every infantile expression had entirely departed; and, in some, reason and intelligence had evidently flown. Many were remnants of families, crowded together in one cabin; orphaned little relatives taken in by the equally destitute, and even strangers��for these poor people are kind to each other, even to the end. In one cabin was a sister, just dying, lying beside her little brother, just dead. I have worse than this to relate; but it is useless to multiply details, and they are, in fact, unfit."

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