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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."

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The Repeal Agitation in Ireland, which had been thoroughly organised in 1842 by "Repeal Missionaries" who had visited every parish in the country, reached its culminating point in 1843. Early in February that year Mr. O'Connell, who had filled the civic chair the previous year, and was then an alderman of the Dublin Corporation, gave notice that, on the 21st of that month, he would move a resolution, affirming the right of Ireland to a resident Parliament, and the necessity of repealing the union. Alderman Butt expressed his determination of opposing the motion. Mr. Butt was one of the ablest members of the Irish bar, and a leader of the Conservative party. The debate was therefore anticipated with the greatest interest, as it promised to be a very exciting political duel. The old Assembly House, since abandoned for the more commodious City Hall, was densely crowded by the principal citizens, while the street was thronged by the populace during the debate. Mr. O'Connell marshalled his arguments under many heads: Ireland's capacity for independenceher right to have a Parliament of her ownthe establishment of that right in 1782the prosperity that followedthe incompetence of the Irish Parliament to destroy the Constitutionthe corrupt means by which the union was carriedits disastrous results, and the national benefits that would follow its repeal. The speech, which lasted four hours, was mainly argumentative and statistical. It was accepted by his followers as an elaborate and masterly statement of the case. Mr. Butt replied with equal ability and more fervid eloquence. The debate was adjourned. Next day other members took part in it. It was again adjourned, and as the contest proceeded the public excitement rose to fever heat. At two o'clock on the third day Mr. O'Connell rose to reply. "No report," says Mr. O'Neil Daunt, "could possibly do justice to that magnificent reply. The consciousness of a great moral triumph seemed to animate his voice, his[526] glance, and his gestures. Never had I heard him so eloquent, never had I witnessed so noble a display of his transcendent powers." The division showed that 41 were in favour of a domestic legislature and 15 were opposed to it.
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THREE:[See larger version]
THREE:[70]
ONE:(From the Painting by Sir M. A. Shee, P.R.A.)
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BY: ADMIN | 05.01.2013

TWO:

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BY: ADMIN | 05.01.2013

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THREE:FROM THE PAINTING BY CLARKSON STANFIELD, R.A., IN THE CORPORATION ART GALLERY, GUILDHALL.

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THE AGENTS OF BRITAIN AND SWEDEN SIGNING THE TREATY AGAINST NAPOLEON. (See p. 7.)Almost immediately on the meeting of the House of Commons, Welbore Ellis demanded whether a return had been made for Westminster, and being answered in the negative, moved that Mr. Corbett, the high bailiff, with his assessor, should attend the House; and the next day, February 2nd, Colonel Fitzpatrick presented a petition from the electors of Westminster, complaining that they were not legally and duly represented. In fact, the scrutiny had now been going on for eight months, and as not even two of the seven parishes of Westminster were yet scrutinised, it was calculated that, at this rate, the whole process would require three years, and the city would, therefore, remain as long unrepresented. The high bailiff stated that the examinations, cross-examinations, and arguments of counsel were so long, that he saw no prospect of a speedy conclusion; and Mr. Murphy, his assessor, gave evidence that each vote was tried with as much[310] form and prolixity as any cause in Westminster Hall; that counseland this applied to both sidesclaimed a right to make five speeches on one vote; and that propositions had been put in on the part of Sir Cecil Wray to shorten the proceedings, but objected to on the part of Mr. Fox.
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