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TWO:This was to send a part of Lincoln's militia, under Colonel Brown, to endeavour to surprise Fort Ticonderoga, Mount Independence, and Fort George, to capture or destroy all the stores there, to hold them in strong force, and thus completely to cut off Burgoyne's retreat by the lakes to Canada. Brown, being joined by another body of militia under Colonel Johnson, invested Ticonderoga. Being repulsed there, he sailed through Lake George in the vessels he had taken; made a fresh attempt upon Diamond Island, and, being also repulsed there, he set fire to the captured vessels, and returned to the American camp in the rear of Burgoyne. Partial as his success had been, he had, however, opened the route, and whilst he and the rest of the militia were watching Burgoyne, other bodies of Americans were mustering in his track, and the retreat of Burgoyne became an impossibility. He could stay where he was no longer. His provisions were exhausted; his horses were dying for lack of forage, and his situation was most deplorable.��Can��t you guess?�� TWO:In pursuance of which the resolute and courageous men arose at the cry of their bleeding land. They have gone down to history (to such history as deigns to concern itself with the reclaiming of the plains of the wilderness, in area an empire of itself) as the Tombstone Toughs. TWO: TWO:[Pg 115]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.