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THREE:Larry had no emeralds and was well aware of it. Jeff still made his pockets bulge with the packed chunks of gum.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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THREE:The receipt of such proposals in England produced the utmost consternation in the Cabinet. Townshend, in an "absolutely secret" answer to Stanhope, expressed the concern both of himself and the Prince of Wales at the prospect of a rupture with the Czar, who would seize the British ships and subjects in Russia, and prohibit the supply of naval stores from his kingdom, and that especially at a crisis when England was threatened with an invasion from Sweden and a rising of the Jacobites. He did not deny that there was a great risk of both these kingdoms and the German empire being exposed to imminent danger by the designs of the Czar on the whole coast of the Baltic, a danger which he might, had he dared, truly have attributed to George's own deeds by offending Sweden, instead of uniting with it to counterbalance the Czar's plan of aggrandisement. Fortunately, the Czar was induced, by the combined remonstrances of Austria, Denmark, and Sir John Norris, to abandon his projects for the moment, at least in Germany, and to withdraw his troops from Mecklenburg.

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