FORE:The result of recent enquiries into the state of civilisation under the Roman Empire during the first two centuries of its existence, has been to suggest conclusions in many respects at variance with those formerly entertained. Instead of the intellectual stagnation, the moral turpitude, and the religious indifference which were once supposed to have been the most marked characteristics of that period, modern scholars discern symptoms of active and fruitful thought, of purity and disinterestedness both in public and private life, but above all of a religious feeling which erred far more on the side of excess than on the side of defect. This change of view may be traced to various causes. A new class of investigators have made ancient history an object of special study. Fresh evidence has been brought to light, and a more discriminating as well as a more extended use has been made of the sources already available. And, perhaps, even greater importance is attributable to the principle now so generally accepted, that historical phenomena, like all other phenomena, are essentially continuous in their movement. The old theories assumed that the substitution of Christian for what is called Pagan196 civilisation was accompanied by a sudden break in mens habits and ideas. But the whole spirit of modern philosophy has prepared us to believe that such a break is not likely to have ever occurred. And a new survey of the period in question is leading us to the conviction that, as a matter of fact, it did not occur.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 footsturdy, 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.
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