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TWO:Although the division took no one by surprise, as the rejection of the Bill by the Lords was expected, yet the shock to society was very violent. The Funds suddenly fell, and there was that feeling of vague anxiety in the public mind which often portends some great calamity. At Derby they broke open the gaol and demolished the property of the anti-Reformers of the place. At Nottingham there was serious rioting, which ended in the utter destruction by fire of the ancient castle, once the property of the Duke of Newcastle, who had given violent offence by his rash declaration with regard to his voters at Newark, "that he had a right to do what he pleased with his own." The popular fury, however, soon subsided, and the public mind regained tranquillity, in the full assurance that the carrying of the Bill was only a question of time, and that the popular cause must ultimately triumph. What[340] most materially contributed to the restoration of public confidence was the fact that the king, alarmed at the prospect of a revolution, implored the Ministers to retain their places, and to shape their Bill so as to disarm their opponents; and on the following Monday, in the House of Commons, Lord Ebrington moved a vote of confidence in the Government, to the effect that, while the House lamented the present state of a measure in favour of which the opinion of the country had been so unequivocally expressed, and which had been matured after the most anxious and laborious discussions, they felt imperatively called upon to reassert their firm adherence to its principles and leading provisions, and their unabated confidence in the integrity, perseverance, and ability of the Ministers, who, in introducing it and conducting it so well, had consulted the best interests of the country. This motion was carried by the large majority of 131; the numbers being 329 to 198. Thus supported by the Commons, the Ministers retained their places; and the king, on the 20th of October, prorogued Parliament in person, in a Speech which the Lords might take as the king's answer to their vote, telling them in effect that by their obstinate bigotry they were setting themselves in antagonism to the two other estates of the realm, and that in their conduct and position lay the real danger to the Constitution. His Majesty said: "To the consideration of the important question of the Reform of the House of Commons the attention of Parliament must necessarily again be called at the opening of the ensuing Session; and you may be assured of my unaltered desire to promote its settlement by such improvements in the representation as may be found necessary for securing to my people the full enjoyment of their rights, which, in combination with those of the other orders of the State, are essential to the support of our free Constitution."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.

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