ONE: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." THREE:144Carteret��or Granville, as we must now style him, for he succeeded to the earldom in 1744��still retained the favour of the king precisely in the same degree as he had forfeited that of the people and the Parliament, by his unscrupulous support of George's Hanoverian predilections. Elated with the favour of the king, Granville insisted on exercising the same supreme power in the Cabinet which Walpole had done. This drove Pelham and his brother, Newcastle, to inform the king that they or Granville must resign. George, unwilling to part with Granville, yet afraid of offending the Pelham party, and risking their support of the large subsidies which he required for Germany, was in a great strait. He sent for Lord Orford up from Houghton, who attended, though in the extreme agonies of the stone, which, in a few months later, brought him to his end. Walpole, notwithstanding the strong desire of the king to retain Granville, and that also of the Prince of Wales��who on this and all points connected with Hanover agreed with the king, though no one else did��decided that it was absolutely necessary that he should resign; and accordingly, on the 24th of November, Granville sullenly resigned the seals, and they were returned to his predecessor, the Earl of Harrington.

Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Aenean commodo ligula eget dolor. Aenean massa. Cum sociis natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Donec quam felis, ultricies nec, pellentesque eu, pretium quis, sem. Nulla consequat massa quis enim.