THREE:The religious revival initiated by Augustus for his own purposes was soon absorbed and lost in a much wider movement, following independent lines and determined by forces whose existence neither he nor any of his contemporaries could suspect. Even for his own purposes, something more was needed than a mere return to the past. The old Roman faith and worship were too dry and meagre to satisfy the cravings of the Romans themselves in the altered conditions created for them by the possession of a world-wide empire; still less could they furnish a meeting-ground for all the populations which that empire was rapidly fusing into a single mass. But what was wanted might be trusted to evolve itself without any assistance from without, once free scope was given to the religious instincts of mankind. These had long been kept in abeyance by the creeds which they had originally called into existence, and by the rigid political organisation of the ancient city-state. Local patriotism was adverse to the introduction of new beliefs either from within or from without. Once the general interests of a community had been placed under the guardianship of certain deities with definite names and jurisdictions, it was understood that they would feel offended at the prospect of seeing their privileges invaded by a rival power; and were that rival the patron of another community, his introduction might seem like a surrender of national independence at the feet of an alien conqueror. So,203 also, no very active proselytism was likely to be carried on when the adherents of each particular religion believed that its adoption by an alien community would enable strangers and possible enemies to secure a share of the favour which had hitherto been reserved for themselves exclusively. And to allure away the gods of a hostile town by the promise of a new establishment was, in fact, one of the stratagems commonly employed by the general of the besieging army.312Besides those enumerated, "The Four Election Scenes," "The Enraged Musician," "The Distressed Poet," and "England and France"all made familiar to the public by engravingsare amongst his best works. In 1760 occurred the first exhibition of pictures by British artists, the works of Hogarth being an actuating cause. He had presented to the Foundling Hospital, besides his "March to Finchley," his "Marriage la Mode," and his "Moses brought before Pharaoh's Daughter," his most successful picture of that kind; and Hayman and other artists having followed his example, a company of artists conceived the idea that an exhibition of the works of living artists might be made profitable. Hogarth fell readily into the plan, till it was proposed to add to this a royal academy of arts, which he opposed with all his might. He died in 1764, and was buried in the churchyard at Chiswick, where also lies by his side his wife, who survived him twenty-five years.