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ONE:These were measures which must have greatly irritated the American colonists. They exhibited a disposition to curb and repress their growing energies between the interests of British merchants and British West Indian planters. The prospect was far from encouraging; whilst, at the same time, the English Ministers, crushing these energies with one hand, were contemplating drawing a revenue by taxation from them on the other. Britain argued that she sacrificed large amounts in building up colonies, and therefore had a right to expect a return for this expenditure. Such a return, had they had the sagacity to let them alone, was inevitable from the trade of the colonies in an ever-increasing ratio.Far above all other English artists of this period, however, stood William Hogarth (b. 1697). There is no artist of that or any former age who is so thoroughly English. He is a John Bull from head to foot��sturdy, somewhat headstrong, opinionated, and satirical. He is, indeed, the great satirist of the brush; but his satire, keen as it is, is employed as the instrument of the moralist; the things which he denounces and derides are crimes, follies, and perverted tastes. In his own conduct, as on his canvas, he displayed the same spirit, often knocking down his own interests rather than not express his indignant feeling of what was spurious in art, or unjust towards himself. Hogarth was the first English painter who attracted much notice amongst foreigners, and he still remains one of the most original in genius of the British school. His subjects are not chosen from the loftier regions of life and imagination, but from the very lowest or the most corrupted ones of the life of his country and time. "The Harlot's Progress," "The Rake's Progress," "Marriage �� la Mode,"[163] "The March to Finchley," "Gín Lane," "Beer Lane," etc., present a series of subjects from which the delicate and sensitive will always revolt, and which have necessarily an air of vulgarity about them, but the purpose consecrates them; for they are not selected to pander to vice and folly, but to expose, to brand, to extirpate them. ONE:Felipa stood up and told the truth shortly. "It[Pg 224] was my fault, if it was any one's," she ended. "You may kill me, if you like. But if you hurt him, I will kill myself." It was she who was threatening now, and she never said more than she meant. She turned almost disdainfully from them, and went up and out of the cave.

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