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THREE:Meanwhile the Whigs were anxious to add fresh security to their own lease of office. At the last election they had procured the return of a powerful majority; but two years out of the triennial term had expired, and they looked with apprehension to the end of the next year, when a dissolution must take place. They were aware that there were still strong plottings and secret agitations for the restoration of the banished dynasty. By both the king and his Ministers all Tories were regarded as Jacobites, and it was resolved to keep them out of office, and, as much as possible, out of Parliament. They had the power in their own hands in this Parliament, and, in order to keep it, they did not hesitate to destroy that Triennial Act for which their own party had claimed so much credit in 1694, and substitute a Septennial Act in its place. They would thereby give to their own party in Parliament more than a double term of the present legal possession of their seats. Instead of one year, they would be able to look forward four years without any fear of[33] Tory increase of power through a new election. On the 10th of April, Devonshire, Lord Steward of the Household, moved the repeal of the Triennial Act, long lauded as one of the bulwarks of our liberties, under the now convenient plea that it had been "found very grievous and burthensome, by occasioning much greater and more continued expenses in order to elections of members to serve in Parliament, and more lasting heats and animosities amongst the subjects of this realm than ever were known before the said clause was enacted." THREE:John Wilson, though born so far back as 1785, was one of the writers of this period distinguished for originality, freshness, power, and rich fancy, combined with learning and eloquence. As "Christopher North" he was long the delight of the readers of Blackwood's Magazine. His criticisms on poetry were distinguished by a profusion of thought and imagery, which flowed forth so rapidly, and sometimes so little under the control of judgment, that there seemed no reason why the[439] stream of illustration should not flow on for ever. He was a poet as well as a critic; but it is a singular fact that his imagination, like that of Milton, was more active in prose than in verse. In the latter, his genius was like a spirited horse in harness; in the former, like the same horse unbridled, and bounding wildly over the prairies. His principal poetical work was "The Isle of Palms," published in 1812, which was followed by one more elaborate, "The City of the Plague." Among the most popular of his prose fictions are, "The Lights and Shadows of Scottish Life," "The Trials of Margaret Lyndsay," and "The Foresters." But it was in periodical literature that he shone most brightly. Soon after the establishment of Blackwood's Magazine, in 1817, he became its chief editor, and thenceforward he poured forth through this organ all the treasures of his intellect. In 1820 he succeeded Dr. Thomas Brown as Professor of Moral Philosophy in the University of Edinburgh, which he held till 1851, when he resigned, in consequence of ill-health, receiving about the same time a pension of ��300 a year from the Crown. As a professor he was greatly beloved by his students, on account of his genial nature and the warm interest he took in their welfare; and he was always surrounded by troops of friends, who respected his character almost as much as they admired his genius. He died in 1854. THREE:Almost every other manufacture shared in this surprising impulse from machinery and the[196] spirit of invention. It was an age of new creations and of unprecedented energies. In 1763 Josiah Wedgwood, of the Staffordshire Potteries, commenced that career of improvement in the biscuit, form, and printing of porcelain which constituted a new era in the art. At that time the French fine pottery was so much superior to the English that it was extensively imported. In fact, it was a period when taste in every department of art was at the lowest ebb. Wedgwood, being a good chemist, not only improved the body of his earthenware, but, being a man of classical taste, introduced a grace and elegance of form before unknown to British pottery. He invented a new kind of composition so hard and marble-like that it resisted both fire and acids; and in this he moulded statuettes, cameos, and medallions from the Greek originals, of great beauty. Sir William Hamilton having brought over from Italy a quantity of antique vases, etc., Wedgwood benefited by them to introduce fresh forms and colouring in his wares, and probably on this account called his pottery-works Etruria. He had the aid of Mr. Chisholm, a practical chemist, in his researches into the best composition and colours for his porcelain, and his improvements laid the foundation of the great pottery trade of Staffordshire.