TWO:But for Newcastle to form a Cabinet was no such easy matter. Pitt refused to take office with him unless he had the whole management of the war and foreign affairs. The king then agreed to send for Henry Fox, who accepted the office of Chancellor of the Exchequer; but Newcastle was so sensible of Fox's unpopularity that he was terrified at undertaking an Administration with Fox and without Pitt, though he was equally reluctant to let a Cabinet be formed without the former. For three months the fruitless endeavours to accomplish a Ministry went on, Parliament sitting all the time, and a great war commencing. Finally, the king and Newcastle were compelled to submit to the terms of "the Great Commoner," as they called Pitt, who became Secretary of State, with the management of the war and foreign affairs. Newcastle became again First Lord of the Treasury, but without one of his old supporters, and Legge Chancellor of the Exchequer; Holderness, a mere cipher, was the other Secretary of State; Anson was placed at the head of the Admiralty; Lord Temple was made Lord Privy Seal; and Pratt, an able lawyer and friend of Pitt, Attorney-General. Fox condescended to take the office of Paymaster of the Forces; and thus, after a long and severe struggle, the feeble aristocrats, who had so long managed and disgraced the country, were compelled to admit fresh blood into the Government in the person of Pitt. But they still entertained the idea that they only were the men, and that wisdom would die with them. One and all, even the otherwise sagacious Chesterfield, prognosticated only dishonour and ruin for such a plebeian appointment. "We are no longer a nation," said Chesterfield; "I never yet saw so dreadful a prospect."Still more have "The Seasons" and "The Castle of Indolence" of James Thomson retained, and are likely to retain, the public favour. "The Seasons" is a treasury of the life and imagery of the country, animated by a true love of Nature and of God, and abounding in passages of fire, healthy feeling, and strong sense, often of sublime conceptions, in a somewhat stiff and vicious style. "The Castle of Indolence" is a model of metrical harmony and luxurious fancy, in the Spenserian stanza. Another poet of the same time and countryScotlandis Allan Ramsay, who, in his native dialect, has painted the manners and sung the rural loves of Scotland in his "Gentle Shepherd" and his rustic lyrics. Till Burns, no Scottish poet so completely embodied the spirit, feelings, and popular life of his country. Amongst a host of verse-makers, then deemed poets, but who were merely imitators of imitators, we must except Gray, with his nervous lyrics, and, above all, his ever-popular "Elegy in a Country Churchyard." Gray also has a genuine vein of wit and merriment in his verse. Collins was a poet who under happier conditions might have done the greatest things. Parnell's "Hermit," Blair's "Grave," Shenstone's "School Mistress," Akenside's "Imagination," can yet charm some readers, and there are others in great numbers whose works yet figure in collections of the poets, or whose individual poems are selected in anthologies, as Smith, King, Sprat Bishop of Rochester, Duke, Montague Earl of Halifax, Nicholas Rowe, Dyerauthor of the "Fleece," "Grongar Hill," and "Ruins of Rome,"Sheffield, Duke of Buckinghamshire, Fenton, Somervilleauthor of "The Chase," "Field Sports," etc.,Hammondauthor of "Love Elegies,"Lord Lyttelton, Mallet, Mickleauthor of the ballads of "Cumnor Hall," "There's Nae Luck about the House," and translator of the "Lusiad" of Camoens,Shaw, Harte, West, Cawthorne, Lloyd, Gilbert Cooper, Graingerauthor of "The Sugar Cane," and the once popular ballad of "Bryan and Pereene,"Dodsley, poet and bookseller, Boyseauthor of "The Deity," a poem, etc.,Smollettmore remarkable as a novelist and historian,Michael Bruce, Walsh, Falconerauthor of "The Shipwreck,"Yalden, Pattison, Aaron Hill, Broome, Pittthe translator of Virgil,John Philipsauthor of "Cider," a poem, "The Splendid Shilling," etc.,West, and others. In fact, this age produced poets enough to have constituted the rhythmical literature of a nation, had they had as much genius as they had learning.
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ONE: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[164] 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.The English army was now in full march against them. About eight o'clock in the morning of April 16 a man who had been left asleep in the wood of Kilravock hastened to Culloden House, where Charles and his chief officers were resting, to announce that Cumberland's troops were coming. There was then a hurried running and riding to get the army drawn up to receive them. Cumberland came on with his army, divided into three columns of five battalions each. The artillery and baggage followed the second column along the sea-coast on the right; the cavalry covered the left wing, which stretched towards the hills. The men were all in the highest spirits, and even the regiments of horse, which had hitherto behaved so ill, seemed as though they meant to retrieve their characters to-day. The Highlanders were drawn up about half a mile from the part of the moor where they stood the day before, forming a sad contrast to Cumberland's troops, looking thin, and dreadfully fatigued. In placing them, also, a fatal mistake was made. They were drawn up in two lines, with a body of reserve; but the Clan Macdonald, which had always been accustomed to take their stand on the right since Robert Bruce placed them there in the battle of Bannockburn, were disgusted to find themselves now occupying the left. Instead of the Macdonalds now stood the Athol Brigade. As the battle began, a snow-storm began to blow in the faces of the Highlanders, which greatly confounded them.
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