Halley's quadrant was constructed and made known by him to the Philosophical Society, in 1731, though Thomas Godfrey, a glazier, of Philadelphia, is said to have made a similar instrument a year before. As early, however, as 1727 Newton had described such an instrument to Halley, that is, a very little time before his death. This invaluable instrument has since been improved, first into a sextant, and ultimately into a complete circle. In 1758 appeared John Dollond's corrections of Newton's views of the dispersion of refracted light, and in the following year his achromatic telescope, based on his accurate discoveries.

In 1720 Colin Maclaurin, the successor of James Gregory in the mathematical chair at Edinburgh, published his "Geometrical Organica," a treatise on curves; in 1742 his admirable treatise on Fluxions; and in 1748 his treatise on Algebra. Dr. Robert Simson, professor of mathematics at Glasgow, published a restoration of the "Loci" of Apollonius, and an English translation of Euclid, which continued down to a late period in use, both in Scotland and England. In 1717 James Stirling published a Latin treatise on lines of the third order, and another on Fluxions, called "Methodus Differentialis," in 1730. William Emerson, a mathematician and mechanist, wrote on fluxions, trigonometry, mechanics, navigation, algebra, optics, astronomy, geography, dialling, etc., but a considerable portion was only in part published during this period. Thomas Simpson, a weaver, of Market Bosworth, at the age of seven-and-twenty suddenly discovered himself as an extraordinary mathematician, and went on till his death, in 1761, publishing works on fluxions, the nature and laws of chance, on mixed mathematics, on the doctrine of annuities and reversions, on algebra, elementary geometry, trigonometry, etc. James Ferguson, also, the son of a day-labourer, in Banffshire, studied mathematics whilst tending sheep, and published a number of works on the phenomena of the harvest moon, astronomy, mechanics, hydrostatics, pneumatics, and optics. Ferguson had a remarkably lucid and demonstrative style, both in writing and lecturing, and his example excited a keen spirit of inquiry amongst the working classes, so that he is said to have diffused the knowledge of physical science amongst the class from which he sprang more than any other man.

In electricity great strides were made. Between the years 1705 and 1711 Francis Hawksbee published in the Transactions of the Royal Society several experiments, in which he had, for the first time, discovered the production of the electric spark by friction, and electrical attraction and repulsion. In 1720 Stephen Gray, a pensioner of the Charterhouse, published the result of his experiments on this subject, with a list of the substances which showed electricity under friction; and in 1732 he discovered the conducting property of non-electrical bodies. Before 1739, Dufray, keeper of the King's Garden at Paris, discovered the repellent power of two similarly-electrified bodies, and the attraction of these positively and negatively electrified—or, as he termed it, possessing the vitreous and the resinous electricity. Cuneus and Lallemand discovered the mode of accumulating the electric fluid in what was called the Leyden jar in 1745. This discovery gave a new impetus to inquiry, and Nollet, in France, and Watson, in England, conceived the hypothesis of the jar being overcharged on one side and undercharged on the other. This growing perception of the positive and negative conditions of the electric fluid received confirmation from the experiments of Benjamin Franklin, in America. Franklin soon improved the Leyden jar into an electrical battery; and, in 1752, he proved the identity of electricity and lightning by his grand experiment of the kite. On this he recommended lightning conductors, which, however, were not used in England till ten years afterwards.

On the laws of heat and cold, and atmospheric changes under their influence, many interesting facts were ascertained by the aid of the thermometers of Fahrenheit and Réaumur. Dr. Martin, of St. Andrews, distinguished himself in these inquiries, and published his discoveries and deductions in 1739 and 1740. In 1750 Dr. Cullen drew attention to some curious facts connected with the production of cold by evaporation. Dr. Joseph Black discovered what he called latent heat, and continued his researches on this subject beyond the present period.

Chemistry also received valuable extensions of its field. Dr. John Mayow published new facts respecting nitre, and on the phenomena of respiration and combustion, as revealed by experiments on this and other substances. At the commencement of the eighteenth century Stahl, a German chemist, propounded his theory of phlogiston as the principle of combustion, which was only exploded by the further discoveries of Dr. Black, Cavendish, and Priestley. Soon after, Dr. Hales threw new light on aëriform bodies, or, as they are now termed, gases; and finally, Dr. Black demonstrated the presence of a gas in magnesia, lime, and the alkalies, which had long before been noticed by Van Helmont, but had been forgotten. This was then termed fixed air, but has now acquired the name of carbonic acid gas, or carbon dioxide. At the end of this period chemistry was extensively studied, and was rapidly revealing its secrets.

The kindred science of medicine was also in marked advance. Dr. Thomas Sydenham, who died in 1689, at the very commencement of this period, had prepared the way for a more profound knowledge of the science by his careful and persevering observation of facts and symptoms; and the improvements he introduced guided medical men in the treatment of disease till the end of this period. Anatomical science was greatly advanced at this era by Malpighi, Steno, Ruysch, Duverney, Morgagni, Albinus, Haller, and other Continental physicians. In England Humphrey Ridley published a work on the brain in 1695, and William Cowper, in 1698, his anatomical tables, said to be borrowed from the Dutch anatomist, Bidloo. In 1726 Alexander Munro published his "Osteology;" he was also founder of the Medical School of Edinburgh. In 1733 William Cheselden, the most expert operator of his day, published his "Osteography." In 1727 Stephen Hales published his "Vegetable Statics," and in 1733 his "Hæmastatics," which carried both vegetable and animal physiology beyond all preceding knowledge either here or abroad. Zoology and comparative anatomy also received some progress from the labours of Nehemiah Grew, Tyson, Collins, and other members of the Royal Society.

Music advanced at an equal rate with its sister arts, and during this period added to its conquests the compositions of Purcell and Handel. William was too much engaged in war to become a patron of music, or of any of the fine arts, and his queen, Mary, does not appear to have possessed much taste for it. She is related by Sir John Hawkins to have sent for Purcell and Mrs. Arabella Hunt, a famous singer, to entertain her. Mrs. Hunt sang some of Purcell's splendid compositions, and Purcell accompanied them on the harpsichord; but Mary soon grew weary of these, and called on Mrs. Hunt to sing the Scottish ballad, "Cold and Raw!"

Henry Purcell (b. 1658; d. 1695) produced the bulk of his works in William's reign. He composed the music to "The Tempest," "Dioclesian," "King Arthur," "Don Quixote," "Bonduca," and "Orpheus Britannicus." Many parts of these, and his sonatas, anthems, catches, rounds, glees, etc., are as much enjoyed now as in his own day. The music to Davenant's "Circe," by Banister, of Shadwell's "Psyche," by Lock, and of Dryden's "Albion and Albanius," by Grabut, had increased in England the liking for the lyrical drama; but Purcell's compositions wonderfully strengthened it, and from "King Arthur" may properly be dated the introduction of the English opera. Gay's "Beggar's Opera," six-and-thirty years after, however, was the first complete and avowed opera, and this did not establish that kind of entertainment in England. The wonderful success of this production, which was performed for sixty-two nights (not consecutive), was chiefly derived from the wit and satire of the composition itself, the abundance of popular airs introduced, and the party feeling which it gratified. The airs were selected and adapted by Dr. Pepusch, a German, who settled in London, and became celebrated there. He also furnished the overture, and wrote accompaniments to the airs. Eleven years after, Milton's "Comus" was adapted to the stage by the Rev. Dr. Dalton, with music by Dr. Arne, who afterwards composed the music for "Artaxerxes," and thence derived a high reputation.

The taste for Italian music was now every day increasing; singers of that nation appeared with great applause at most concerts. In 1703 Italian music was introduced into the theatres as intermezzi, or interludes, consisting of singing and dancing; then whole operas appeared, the music Italian, the words English; and, in 1707, Urbani, a male soprano, and two Italian women, sang their parts all in Italian, the other performers using English. Finally, in 1710, a complete Italian opera was performed at the Queen's Theatre, Haymarket, and from that time the Italian opera was regularly established in London. This led to the arrival of the greatest composer whom the world had yet seen. George Frederick Handel was born at Halle, in Germany, in 1685. He had displayed wonderful genius for music as a mere child, and having, at the age of seven years, astonished the Duke of Saxe Weissenfels—at whose court his brother-in-law was a valet—who found him playing the organ in the chapel, he was, by the Duke's recommendation, regularly educated for the profession of music. At the age of ten, Handel composed the church service for voices and instruments; and after acquiring a great reputation in Hamburg—where, in 1705, he brought out his "Almira"—he proceeded to Florence, where he produced the opera of "Rodrigo," and thence to Venice, Rome, and Naples. After remaining in Italy four years, he was induced to come to England in 1710, at the pressing entreaties of many of the English nobility, to superintend the opera. But, though he was enthusiastically received, the party spirit which raged at that period soon made it impossible to conduct the opera with any degree of self-respect and independence. He therefore abandoned the attempt, having sunk nearly all his fortune in it, and commenced the composition of his noble oratorios. Racine's "Esther," abridged and altered by Humphreys, was set by him, in 1720, for the chapel of the Duke of Chandos at Cannons. It was, however, only by slow degrees that the wonderful genius of Handel was appreciated, yet it won its way against all prejudices and difficulties. In 1731 his "Esther" was performed by the children of the chapel-royal at the house of Bernard Gates, their master, and the following year, at the king's command, at the royal theatre in the Haymarket. It was fortunate for Handel that the monarch was German too, or he might have quitted the country in disgust before his fame had triumphed over faction and ignorance. So far did these operate, that in 1742, when he produced his glorious "Messiah," it was so coldly received that it was treated as a failure. Handel, in deep discouragement, however, gave it another trial in Dublin, where the warm imaginations of the Irish caught all its sublimity, and gave it an enthusiastic reception. On its next presentation in London his audience reversed the former judgment, and the delighted composer then presented the manuscript to the Foundling Hospital, where it was performed annually for the benefit of that excellent institution, and added to its funds ten thousand three hundred pounds. It became the custom, from 1737, to perform oratorios on the Wednesdays and Fridays in Lent. Handel, whose genius has never been surpassed for vigour, spirit, invention, and sublimity, became blind in his latter years. He continued to perform in public, and to compose, till within a week of his death, which took place on April 13, 1759.

Whilst this progress in operatic and sacred music was being made, the Church Service had received some admirable additions. Jeremiah Clarke, the Rev. Henry Aldrich, D.D., dean of Christ Church, John Weldon, organist to Queen Anne, and Georges I. and II., and the Rev. Dr. Robert Creighton, canon of Salisbury, composed many admirable pieces. William Croft, Mus. Doc., is the author of thirty-one splendid anthems, and Maurice Greene, Mus. Doc., of forty, which are still heard with solemn delight in old choirs. William Boyce, Mus. Doc., organist to Georges II. and III., added to these numerous anthems and services the oratorio of "Solomon," and many other compositions of a superb character—one of them the grand anthem performed annually at the Feast of the Sons of the Clergy. Boyce also composed a variety of secular pieces of rare merit.

In 1710 was established the Academy of Ancient Music, the object of which was to promote the study of vocal and instrumental harmony. Drs. Pepusch, Greene, and other celebrated musicians were amongst its founders. They collected a very valuable musical library, and gave annual concerts till 1793, when more fashionable ones attracted the public, and the society was dissolved. In 1741 was established the Madrigal Society, the founder of which was John Immyns, an attorney. It embraced men of the working classes, and held meetings on Wednesday evenings for the singing of madrigals, glees, catches, etc. Immyns sometimes read them a lecture on a musical subject, and the society gradually grew rich. The composers of such pieces at this period were such men as Purcell, Eccles, Playford, Leveridge, Carey, Haydn, Arne, etc. Public gardens became very much the fashion, and in these, at first, oratorios, choruses, and grand musical pieces were performed, but, by degrees, gave way to songs and catches. Vauxhall, originally called Spring Garden, established before the Revolution, became all through this period the fashionable resort of the aristocracy, and to this was added Ranelagh, near Chelsea College, a vast rotunda, to which crowds used to flock from the upper classes on Monday, Wednesday, and Friday evenings, to hear the music and singing. These performances spread greatly the taste for music, and probably excited the alarm of the puritanically religious, for there arose a loud outcry against using music in churches, as something vain and unhallowed. Amongst the best publications on the science of music during this period were Dr. Holder's "Treatise on the Natural Grounds and Principles of Harmony," 1694; Malcolm's "Treatise on Music, Speculative, Practical, and Historical," 1721; Dr. Pepusch's "Treatise on Harmony," 1731; Dr. Smith's "Harmonics; or, the Philosophy of Musical Sounds;" Avison's "Essay on Musical Expression," 1752. Avison also published twenty-six concertos for a band, which were much admired.

At this period, both the grand old styles of architecture, the Gothic for ecclesiastical buildings, and the Tudor and Elizabethan for palaces and mansions, had, for a time, run their course. A classical or Italian fashion had come in, and the picturesque churches and halls of our ancestors were deemed barbarous. Inigo Jones had introduced the semi-classical style, and now Sir Christopher Wren and Vanbrugh arose to render it predominant. Wren had the most extraordinary opportunity for distinguishing himself. The fire of London had swept away a capital, and to him was assigned the task of restoring it. Wren (b. 1632; d. 1723) was descended from a clerical family. In 1651 he was appointed to the chair of astronomy at Gresham College; three years afterwards to that of the Savilian professor at Oxford. In 1661 he was appointed by Charles II. to assist Sir John Denham, the surveyor-general, and in 1663 he was commissioned to examine the old cathedral of St. Paul, with a view to its restoration in keeping with the Corinthian colonnade which Inigo Jones had, with a strange blindness to unity, tagged on to a Gothic church. The old church was found to be so thoroughly dilapidated, that Wren recommended its entire removal and the erection of another. This created a terrible outcry amongst the clergy and citizens, who regarded the old fabric as a model of beauty.

Whilst these contentions were going on, Wren had entered fairly on his profession of architect. He built the Sheldonian Theatre at Oxford, begun in 1663, and completed in 1669; and the fine library of Trinity College, Cambridge, and the beautiful square, Neville's Court, to the same college. He also built the chapels of Pembroke and Emmanuel Colleges, in the same university. In the erection of these, he suffered, from the conceit and conflicting opinions of parties concerned, a foretaste of the squabbles and contradictions which rendered the whole period of the building of St. Paul's miserable. In 1665 he found leisure to visit Paris, and study the magnificent palaces and churches with which Louis XIV. was embellishing his capital. There he got a glimpse of the design for the Louvre, which Bernini, the architect, showed him, but only for a moment; and he was in communication with Mansard, Le Vau, and Le Pautre.

On his return, the contentions regarding pulling down old St. Paul's were rife as ever; but the following year the fire occurred, and Wren was commissioned to make a plan for the rebuilding of the City. He proposed to restore it on a regular plan, with wide streets and piazzas, and for the banks of the river to be kept open on both sides with spacious quays. But these designs were defeated by the ignorance and selfishness of the inhabitants and traders, and the banks of the Thames became once more blocked up with wharves and warehouses, narrow and winding lanes; and Wren could only devote his architectural talent to the churches, the Royal Exchange, and Custom House. These latter buildings were completed in the three following years; they have since both been burnt down and rebuilt. Temple Bar, a hideous erection, was finished in the fourth year, 1670. All this time the commencement of the new St. Paul's was impeded by the attempts of the commissioners to restore the old tumbling fabric, and it was only by successive fallings-in of the ruins that they were compelled to allow Wren to remove the whole decayed mass, and clear the ground for the foundations of his cathedral. These were laid in 1675, nine years after the fire, and the building was only terminated in thirty-five years, the stone on the summit of the lantern being laid by Wren's son, Christopher, 1710. The choir, however, had been opened for divine service in 1697, in the twenty-second year of the erection.

During this long period Sir Christopher had been busily employed in raising many other buildings; amongst these, the Royal Observatory, Greenwich; St. Bride's; St. Swithin's; the Gateway Tower, Christ Church, Oxford; St. Antholin's, Watling Street; the palace at Winchester, never completed; Ashmolean Museum, and Queen's College Chapel, Oxford; St. James's, Westminster; St. Clement's, Eastcheap; St. Martin's, Ludgate Hill; St. Andrew's, Holborn; Christ Church, Newgate Street; Hampton Court Palace, an addition; Morden College, Blackheath; Greenwich Hospital; St. Dunstan's-in-the-East, tower and spire; Buckingham House, since pulled down; and Marlborough House.

His plan for his chef-d'œuvre, St. Paul's, like his grand plan for the City, with its principal streets ninety feet wide, its second-rate streets sixty, and its third-rate thirty, was rejected. This cathedral was a composition compact and simple, consisting of a single general octagonal mass, surmounted by a dome, and extended on its west side by a portico, and a short nave or vestibule within. The great idea of Wren was to adapt it to Protestant worship, and therefore he produced a design for the interior, the parts of which were beautifully grouped together so as to produce at once regularity and intricacy, yet without those long side aisles and recesses, which the processions and confessionals of Roman Catholic worship require. The whole long period of Wren's erection of this noble pile was one continued battle with the conceit, ignorance, and dogmatism of the commissioners, who made his life a bitter martyrdom; and when we read the admired inscription in St. Paul's, "Si monumentum requiris, circumspice," we behold, on obeying its injunction, only what Wren did, not what he suffered in doing it.

The style of St. Paul's, and, indeed, of all Wren's churches, is neither Grecian nor Gothic, but Italian, influenced by the fashion which Bernini, the Italian architect of Louis XIV., had introduced into France. It is a class of architecture of which the Grecian is the basis, but which is so freely innovated upon as to leave little general resemblance. In its different parts we have columns and pilasters of every Grecian and, indeed, Roman order, pediments, peristyles, architraves, and friezes, mingled up with windows of all sorts, and all kinds of recesses and projections, the façades and intercolumniations ornamented with festoons, and wreaths, and human masks, and the whole surmounted by a great Eastern dome, and by campaniles partaking of all the compilations of the main buildings. St. Paul's itself is a noble building, notwithstanding the manifest gleanings from the antique and the mediæval, and their combination into a whole which has nothing original but their combination into one superb design. Besides St. Paul's, the rest of Wren's churches are disappointing, and we cannot avoid lamenting that he had lost the sense of the beauty of Gothic architecture, especially when we call to mind the exquisite churches of that style which adorn so many of the Continental cities. Whilst the exteriors of Wren's churches show heavily in their huddled-up situations in London streets, their interiors, in which much more of the Grecian and Roman styles is introduced, are equally heavy, and wanting in that pliant grace which distinguishes the interiors of Gothic cathedrals. Perhaps the noblest work of Wren next to St. Paul's is Greenwich Hospital, which is more purely Grecian, and therefore displays a more graceful and majestic aspect. The Palace of Hampton Court, attached to the fine old Tudor pile of Cardinal Wolsey, is a great square mass, in which the Dutch taste of William is said to have set aside Wren's original design. But surely William did not compel him to erect that (in such circumstances) ponderous barbarism of a Grecian colonnade in the second quadrangle of Hampton Court, attaching it to a Gothic building. In fact, neither Wren nor Inigo Jones appears to have had the slightest sense of the incongruity of such conjunctions. Jones actually erected a Grecian screen to the beautiful Gothic choir of Winchester Cathedral, and placed a Grecian bishop's throne in it, amid the glorious canopy-work of that choir. The return to a better taste swept these monstrosities away.

The fame of Wren must rest on St. Paul's, for in palaces he was less happy than in churches. His additions to Windsor Castle and St. James's Palace, and his erection of Marlborough House are by no means calculated to do him high honour, whilst all lovers of architecture must deplore the removal of a great part of Wolsey's palace at Hampton Court to make way for Wren's structure. A glorious view, if old drawings are to be believed, must all that vast and picturesque variety of towers, battlements, tall mullioned windows, cupolas, and pinnacles, have made, as they stood under the clear heaven glittering in the sun. The writers who saw it in its glory describe it in its entireness as the most splendid palace in Europe. Of the campaniles of Wren, that of St. Bride's, Fleet Street; of Bow Church, Cheapside; of St. Dunstan's-in-the-East; and the tower of St. Michael's, Cornhill, are the finest. The last is almost his only Gothic one, and would have been a fine tower had the ornament been equally diffused over it, and not all been crowded too near the top. Wren was thwarted in his design for the London Monument. He drew a plan for one with gilt flames issuing from the loop-holes, and surmounted by a phœnix, but as no such design could be found in the five Orders, it was rejected, and the existing commonplace affair erected. One of his last undertakings was the repair of Westminster Abbey, to which he added the towers at the west end, and proposed to erect a spire in the centre. Sir Christopher left a large quantity of drawings, which are preserved in All Souls' College library, Oxford.

The next great architect of this period is Sir John Vanbrugh, who, when in the zenith of his fame as a dramatic writer, suddenly started forth as an architect, and had the honour of erecting Castle Howard, the seat of the Earl of Carlisle; Blenheim House, built for the Duke of Marlborough, in reward of his victories; Duncomb Hall, Yorkshire; King's Weston, in Gloucestershire; Oulton Hall, Cheshire; Grimsthorpe, in Lincolnshire; Eastbury, in Dorsetshire, now destroyed; and Seaton Delaval, in Northumberland, since partly destroyed by fire. Besides these, he built the opera house, also destroyed by fire. In all these there is a strong similarity, and as a general effect, a certain magnificence; but, when examined in detail, they too frequently resolve themselves into a row of individual designs merely arranged side by side. This is very much the case with the long façade of Blenheim. There is a barbaric splendour, but it has no pervading unity, and only differs from the Italian manner of Wren by a much bolder and profuser use of the Grecian columns and pilasters. In fact, the architecture of the whole of this period is of a hybrid character, the classical more or less modified and innovated to adapt it to modern purposes and the austerity of a northern climate.

Amongst the most distinguished of this series of architects is James Gibbs, who, after studying in Italy, returned to England in time to secure the erection of some of the fifty churches ordered to be built in the metropolis and its vicinity in the tenth year of Queen Anne. The first which he built is his finest—St. Martin's, at the north-east corner of Trafalgar Square. Besides St. Martin's, Gibbs was the architect of St. Mary's, in the Strand; of Marylebone Chapel; of the body of All Saints', Derby—an incongruous addition to a fine old Gothic tower; of the Radcliffe Library, at Oxford; of the west side of the quadrangle of King's College, and of the Senate House, Cambridge, left incomplete. In these latter works Sir James Burrows, the designer of the beautiful chapel of Clare Hall, in the same university, was also concerned. Gibbs was, moreover, the architect of St. Bartholomew's Hospital.

Nicholas Hawksmoor, a pupil of Wren's, and an assistant of Vanbrugh's in building Castle Howard and Blenheim House, was the architect of St. George's-in-the-East, Ratcliff Highway, begun in 1715; of St. Mary Woolnoth, Lombard Street; of St. George's, Bloomsbury; St. Anne's, Limehouse; of Easton Norton House, in Northamptonshire; and of some other works, including a mausoleum at Castle Howard, and repairs of the west front of Westminster Abbey. St. George's, Bloomsbury, is perhaps his finest structure. It has a Corinthian portico, like St. Martin's, and the steeple is surmounted by a statue of George II.

During this period, St. John the Evangelist, Westminster, was built by Thomas Archer. The churches of Greenwich, of St. George's, Hanover Square, and St. Luke's, Middlesex, were designed by John James. To this time likewise belong St. Giles's-in-the-Fields; St. Olave's, Southwark, and Woburn Abbey, by Flitcroft; Chatsworth House and Thoresby, by Salmon; Montagu House, by the French architect, Pouget; All Saints' Church, and the Peckwater Quadrangle of Christ Church, Oxford, by Dean Aldrich; and the library of Christ Church, designed by Dr. George Clarke, M.P. for Oxford, in the reign of Anne. After these the Earl of Burlington, a worshipper of Palladio and Inigo Jones, became a very fashionable architect, and built the dormitory at Westminster School; Petersham House, and other noblemen's mansions. The fine colonnade in the courtyard of Burlington House is also his work. Burlington was essentially a copyist, as was his protégé Kent, who built Holkham, in Norfolk, and the Horse Guards, but acquired as much reputation by his landscape gardening as he gained little by his architecture. Towards the end of this period several foreign artists were employed in England. We have already named Pouget; Giacomo Leoni was much employed; and Labelye, a Swiss, built Westminster Bridge, which was completed in 1747. Thomas Ripley, originally a carpenter, built the Admiralty.

Painting, like architecture, was at a very low ebb during this period, with one or two brilliant exceptions. Foreign artists were in demand, and there was no native talent, except that of Thornhill and Hogarth, which could claim to be unjustly overlooked in that preference. Sir Peter Lely was still living, but Sir Godfrey Kneller, another foreigner, was already taking his place. Kneller was a German, born at Lübeck, and educated under the best Flemish masters of the day. As he had chosen portrait-painting as his department, he hastened over to England after a visit to Rome and Venice, as the most profitable field for his practice, and being introduced to Charles II. by the Duke of Monmouth, he became at once the fashion. Kneller had talents of the highest order, and, had not his passion for money-making been still greater, he would have taken rank with the great masters; but, having painted a few truly fine pictures, he relied on them to secure his fame, and commenced an actual manufacture of portraits for the accumulation of money. Like Rubens, he sketched out the main figure, and painted the head and face, leaving his pupils to fill in all the rest. He worked with wonderful rapidity, and had figures often prepared beforehand, on which he fitted heads as they were commissioned. Sir John Medina, a Fleming, was the chief manufacturer of ready-made figures and postures for him, the rest filled in the draperies and backgrounds. Kneller had a bold, free, and vigorous hand, painting with wonderful rapidity, and much of the grace of Vandyck, but only a few of his works show what he was capable of. The beauties of the Court of William and Mary, which may be seen side by side with those of the Court of Charles II. by Lely at Hampton Court, are far inferior to Lely's.

During this time foreign painters of various degrees of merit flourished in England. Amongst these were John Baptist Vanloo, brother of the celebrated Carl Vanloo, a careful artist; Joseph Vanaken, a native of Antwerp, who did for Hudson what his countrymen did for Kneller—furnished draperies and attitudes. He worked for many others, so that Hogarth painted his funeral as followed by all the painters of the day in despair. The celebrated battle-painter, Peter Vander Meulen, Hemskerk, Godfrey Schalcken, famous for his candle-light effects, John Van Wyck, a famous painter of horses, James Bogdani, a Hungarian flower, bird, and fruit painter, Balthazar Denner, famous for his wonderfully finished heads, especially of old people, and Theodore Netscher, the son of Gaspar Netscher, all painted in England in the earlier part of the eighteenth century. Boit—a painter of French parentage—Liotard, and Zincke, were noted enamel painters. Peter Tillemans, who painted English landscapes, seats, busts, roses, etc., died in 1734; and the celebrated Canaletti came to England in 1746, and stayed about two years, but was not very successful, the English style of architecture, and, still more, the want of the transparent atmosphere of Italy, being unfavourable to his peculiar talent.

There was also a vast deal of decorations of ceilings and staircases still going on, and foreign artists flocked over to execute it. Laguerre, a Frenchman, succeeded Verrio in this department, and his works yet remain at Hampton Court, Burleigh, Blenheim, and other places. Laguerre was appointed to paint the cupola of St. Paul's, designs having been offered also by Antonio Pellegrini, who had thus embellished Castle Howard; but their claims were overruled in favour of Sir James Thornhill. Besides these, there were Lafosse, who had decorated Montagu House, Amiconi, a Venetian, and others, who executed many hundred square yards of such work in England. Such was the fashion for these foreign decorators, that when a native artist appeared equal to any one of them in skill and talent, and superior to most, he found himself paid at a very inferior and invidious rate.

This was the case with Sir James Thornhill, of Thornhill, near Weymouth. His father, however, had spent his fortune and sold the estate, and Sir James, being fond of art, determined to make it his profession to regain his property. His uncle, the celebrated Dr. Sydenham, assisted him in the scheme. He studied in London, and then travelled through Flanders, Holland, and France. On his return he was appointed by Queen Anne to paint the history of St. Paul in the dome of the new cathedral of St. Paul, in eight pictures in chiaroscuro, with the lights hatched in gold. So much was the work approved, that he was made historical painter to the queen. The chief works of the kind by Sir James were the Princess's apartment at Hampton Court, the gallery and several ceilings in Kensington Palace, a hall at Blenheim, a chapel at Lord Oxford's, at Wimpole, a saloon of Mr. Styles's, at Moorpark, and the ceilings of the great hall at Greenwich Hospital. On the ceiling of the lower hall appear, amid much allegorical scenery, the portraits of William and Mary, of Tycho Brahe, Copernicus, Newton, and others; on that of the upper hall appear the portraits of Queen Anne and her husband, the Prince of Denmark; and paintings of the landing of William at Torbay, and the arrival of George I. There are, in addition, portraits of George I., and two generations of his family. Sir James also painted the altar-piece of All Souls', Oxford, and one presented to his native town, Weymouth.

Other English artists of this period were John Riley, an excellent and original painter, who died in 1691; Murray, a Scotsman; Charles Jervas, the friend of Pope, a man much overrated by his acquaintance; and Jonathan Richardson, a much superior artist to Jervas, and author of the valuable "Essay on the Art of Criticism, as it relates to Painting." Thomas Hudson, a pupil of Richardson, and his son-in-law, was an admirable painter of heads, and had the honour of being the instructor of Sir Joshua Reynolds. Henry Cook, like Thornhill, was a decorator, and painted the choir of New College Chapel, at Oxford, and the ceiling of a large room at the New River head. Among other artists of repute there may be named Luke Cradock, a flower and fruit painter; John Wootton, an animal painter; Francis Hayman, an historical painter and designer for book-plates—those for "Don Quixote" being his best; and George Lambert, one of the first English landscape painters of any mark.

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 à la Mode," "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.

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 à 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."

Soon after appeared his twelve plates of "Industry and Idleness," and in 1753 he published a work called "The Analysis of Beauty," in which he attempted to prove that the foundation of beauty and grace consists in a flowing serpentine line. He gave numerous examples of it, and supported his theory with much ingenious argument. The book brought down upon him a perfect tempest of critical abuse from his envious and enraged contemporaries. In 1757 he visited France, and being engaged in sketching in Calais, he was seized and underwent very rough treatment from "the politest nation in the world," under an impression that he was employed by the English government to make drawings of the fortifications. This adventure he has commemorated in his picture of "Calais Gate." In the following year he painted his "Sigismunda."

Besides those enumerated, "The Four Election Scenes," "The Enraged Musician," "The Distressed Poet," and "England and France"—all made familiar to the public by engravings—are amongst his best works. In 1760 occurred the first exhibition of pictures by British artists, the works of Hogarth being an actuating cause. He had presented to the Foundling Hospital, besides his "March to Finchley," his "Marriage à la Mode," and his "Moses brought before Pharaoh's Daughter," his most successful picture of that kind; and Hayman and other artists having followed his example, a company of artists conceived the idea that an exhibition of the works of living artists might be made profitable. Hogarth fell readily into the plan, till it was proposed to add to this a royal academy of arts, which he opposed with all his might. He died in 1764, and was buried in the churchyard at Chiswick, where also lies by his side his wife, who survived him twenty-five years.

In sculpture at this period we stood much lower than in painting. Here we had no Hogarth, nor even a Thornhill. All that was of any value in this art proceeded from the chisels of foreigners, and even in that what an immense distance from the grand simplicity of the ancients! The sculpture of Italy and France was in the ascendant, but Bernini and Roubiliac had little in common with Phidias and Praxiteles, and our own sculptors presented a melancholy contrast to the work of artists of the worst age of Greece or Rome; there is scarcely a name that is worth mentioning. The best of the native sculptors was John Bushnell, who was employed by Wren to execute the statues of the kings at Temple Bar; and Francis Bird, who was also employed later by Wren to execute "The Conversion of St. Paul," in the pediment of the new cathedral, the bas-reliefs under the portico, and the group in front, all of a very ordinary character. His best work is the monument of Dr. Busby in the transept of Westminster Abbey. Besides this he executed the monument of Sir Cloudesley Shovel, also at Westminster, and the bronze statue of Henry VI., in the quadrangle of Eton College, both very indifferent. Gibbs and Bird executed the ponderous and tasteless monument of Holles, Duke of Newcastle, at Westminster, and the fine old minster is disgraced by a crowd of still more contemptible productions of this period. These can only be equalled in wretchedness by the works of a trading school, who supplied copies in lead of ancient gods, goddesses, shepherds, shepherdesses, etc., for the gardens of the nobility, which soon swarmed in legions in all the gardens and areas in and around the metropolis. Amongst the chief dealers in this traffic were Cheere and Charpentier, who employed foreign artists, even, for such images, and it was the fortune of Roubiliac to commence his English career with the former of these traders. The three chief foreigners of this period were Rysbraeck, Scheemakers, and Roubiliac, who were copyists of the French sculptors Coysevox, Bouchardon, and Le Moyne, as these had been of Bernini.

Notwithstanding the constant wars of this time, British shipping, commerce, colonies, and manufactures made considerable progress. At the commencement of this period the amount of shipping employed in our commerce was altogether 244,788 tons, being 144,264 tons English, and 100,524 foreign; in 1701 the amount of shipping employed was 337,328 tons, of which alone 293,703 were English. In 1702, the end of William's reign, the number of English mercantile vessels was about 3,281, employing 27,196 seamen. The royal navy, at the end of William's reign, amounted to about 159,000 tons, employing some 50,000 sailors, so that the seamen of England must have amounted at that period to nearly 80,000.

At the end of the reign of Anne the shipping employed in commerce amounted to 448,000 tons, of which only 26,573 tons were foreign; so that the English mercantile shipping had increased, in little more than twelve years, 127,800 tons. At the end of the reign of George I. our mercantile shipping was only 456,000 tons, the foreign being 23,651 tons; so that the increase for the time was but slight. The royal navy had greatly decreased under George I. At the end of the reign of George II., the total amount of our commercial shipping was 573,978 tons, including 112,737 foreign. Thus, whilst the total shipping at the commencement of this period (in 1688) was only 244,788 tons, at the end of it (in 1760) the total was 573,978 tons, or a nett increase, in seventy-two years, of 329,190 tons: the increase being much larger than the total amount of tonnage possessed at the commencement of the period, the amount of foreign shipping remaining very nearly the same—in fact, only 12,000 tons more. The royal navy, which, at the commencement of the period, was reckoned at 101,892 tons, at the end of it was 321,104 tons, showing an increase of 219,212 tons; and, at the rate of men employed at the commencement, the number now employed in both our commercial and our national navy could not be fewer than 160,000 men.

The growth of our commerce during these seventy-two years is shown by the amount of our exports. In 1697—that is, nine years after the Revolution—the amount of exports was only £3,525,907; but in the three next years of peace they rose to £6,709,881. War reduced these again to little more than £5,000,000, and at the end of the reign of Anne, during peace, they rose to £8,000,000. At the end of the reign of George I. the war had so much checked our commerce, that the exports scarcely amounted to that sum, the average of the three years—1726, 1727, and 1728—being only £7,891,739. By the end of the reign of George II., however (1760), they had risen to £14,693,270. Having by this period driven the fleets of France and Spain from the ocean, we rather extended our commerce than injured it. Thus, during these seventy-two years, our exports had increased from about three millions and a half annually to more than fourteen millions and a half annually, or a yearly difference of upwards of eleven millions—a most substantial growth.

One great cause of this progress was the growth of our colonies. They began now to demand a considerable quantity of our manufactures and other articles of domestic comfort and convenience, and to supply us with a number of items of raw material. Towards the end of the reign of George I. our American colonies, besides the number of convicts that we sent thither, especially to Virginia and Maryland, attracted a considerable emigration of free persons, particularly to Pennsylvania, in consequence of the freedom of its constitution as founded by Penn, and the freedom for the exercise of religion.