CHAPTER V.

MENAI SUSPENSION AND TUBULAR BRIDGES. (From a Photograph by Hudson.)

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Great improvements were made during this reign in the harbours, especially by Telford and Rennie. Telford's harbour work in Scotland we have already mentioned; Rennie's formations or improvements of harbours were at Ramsgate, London, Hull, and Sheerness; he also built the Bell Rock Lighthouse, on the same principle as the Eddystone Lighthouse, built by Smeaton,a self-taught engineer, just before the accession of George III.

The mechanical invention, however, destined to produce the most extraordinary revolution in social life was that of railways, which during this reign were progressing towards the point where, combined with the steam-engine, they were to burst forth into an activity and strength astonishing to the whole world. Tram-roads—that is, roads with lines of smooth timber for the wheels of waggons to run upon—had been in use in the Newcastle collieries for a century before. In 1767, at the Coalbrook Dale Iron Works, iron plates were substituted for wood, and by this simple scheme one horse could, with ease, draw as much as ten on an ordinary road. In 1776 iron flanges, or upright edges, were used at the collieries of the Duke of Norfolk, near Sheffield, and after this time they became common at all collieries, both above and below ground. In 1801 an iron railway, by a joint-stock company, was opened from Wandsworth to Croydon. Three years before iron railways had been introduced to convey the slates from Lord Penrhyn's quarries, in Carnarvonshire, to the Menai Strait for shipment, and they were attached to canals for the conveyance of goods to and from them. At the end of this reign there were two hundred and twenty-five miles of iron railroads in the neighbourhood of Newcastle-on-Tyne, and upwards of three hundred miles in the single county of Glamorgan.

Before the termination of the reign there were active preparations for putting steam-engines on all iron railroads. So early as 1758, Watt, who afterwards did so much in the construction of steam-engines, had an idea that locomotive engines might be put on such roads. In 1770 such an engine was actually made and worked by John Theophilus Cugnot, in Paris, but he had not discovered sufficient means of controlling it. In 1802 Messrs. Trevethick and Vivian exhibited such an engine running along the streets in London. In 1805 the same gentlemen again exhibited one of their engines working on a tram-road at Merthyr Tydvil, drawing ten tons of iron at the rate of five miles an hour; and in 1811 Mr. Blenkinsop was running an engine on the Middleton Colliery, near Leeds, drawing a hundred tons on a dead level at the rate of three and a half miles an hour, and going at the rate of ten miles when only lightly loaded. Blenkinsop had made the wheels of his engines to act by cogs on indented rails; for there was a strong persuasion at that period that the friction of plain wheels on plain rails would not be sufficient to enable the engine to progress with its load. The folly of this idea had already been shown on all the colliery lines in the kingdom, and by the engine of Trevethick and Vivian at Merthyr. The fallacy, however, long prevailed. But during this time Thomas Gray was labouring to convince the public of the immense advantages to be derived from steam trains on railways. In five editions of his work, and by numerous memorials to Ministers, Parliament, lord mayors, etc., he showed that railroads must supersede coaches for passengers, and waggons and canals for goods. He was the first projector of a general system of railroads, laid down maps for comprehensive general lines for both England and Ireland, invented turn-tables, and very accurately calculated the cost of constructing lines. For these services he was termed a madman, and theEdinburgh Reviewrecommended that he should be secured in a strait jacket. In his "Life of George Stephenson" Dr. Smiles takes exception to the statement that Thomas Gray was the originator of railways, and transfers that term to Stephenson. Let us be correct; Gray was the projector, Stephenson the constructor of railways. But it is not to be supposed that Gray had sold five editions of his work without Stephenson, and perhaps every engineer, having read and profited by it. Yet, so little had Stephenson any idea of the real scope and capacity of railways, that it was not till five years after the running of his engines on such lines, by Dr. Smiles's own showing, that he ever imagined such a thing as their becoming the general medium of human transit. He tells us Mr. Edward Pease suggested to him to put an old long coach on the Darlington and Stockton line, attached to the luggage trucks, and see if people might not wish to travel by it. Gray had demonstrated all this long before. He stood in the place of the architect, Stephenson only of the builder who carries out the architect's design. Seven years only after the death of George III. the railway line between Manchester and Liverpool was commenced, and from its successful opening, on the 15th of September, 1830, dates the amazing development of the present railway system.

"A HUNDRED YEARS AGO."FROMTHEPAINTINGBYGEORGEWRIGHTBy permission of E. W. Savory, Ltd.

"A HUNDRED YEARS AGO."

FROMTHEPAINTINGBYGEORGEWRIGHT

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The earliest idea of a steam-engine was that given by the Marquis of Worcester, in his "Century of Inventions," in 1663, which idea he obtained from De Caus, and reduced to action in London. The next step was to Papin's Digester, and then to Savery's so-called "Atmospheric Engine." This, improved by Newcomen in 1711,was introduced to drain mines in all parts of the kingdom, but especially in the coal-mines of the north and midland counties, and the copper mines of Cornwall. By its means many mines long disused through the accumulation of water were drained and made workable, and others were sunk much deeper. Smeaton, in 1769, greatly improved this engine, which, from its rapid working of a horizontal beam, was called by the miners a "Whimsey," as having a whimsical look. Watt, then a student in the University of Glasgow, commenced a series of experiments upon it, which, between 1759 and 1782, raised the engine to a pitch of perfection which made it applicable not only to draining water out of mines, but, by the discovery of the rotatory motion, enabled it to propel any kind of machinery, spin cotton, grind in mills of all kinds, and propel ships and carriages. Watt was greatly aided in his efforts by Mr. Matthew Boulton, and their engines were manufactured at Soho Works, near Birmingham. They did not, however, enjoy the fruits of their patents for protecting their inventions without many most unprincipled attempts to invade their rights by masters of mines and others, by which they were involved in very harassing law-suits. The first application of the steam-engine to the machinery of a cotton-mill was at Papplewick, in Nottinghamshire, in 1785, and the first mill built for the employment of machinery driven by an engine was in Manchester, in 1789. The first application of the engine to propel a vessel was at Dalswinton, on the Clyde, in 1788, the boat being constructed by Patrick Miller, James Taylor, and William Symington. In the following year these inventors made a second experiment on the Forth and Clyde Canal at the Carron Works, with perfect success, the vessel going at the rate of nearly seven miles an hour. Symington was probably the real machinist in this firm, and in 1802 he made a tug-boat on the Forth and Clyde Canal, under the patronage of Lord Dundas, which was worked extremely well by its engine. In 1807 Fulton followed up these experiments by launching a steam-boat on the Hudson, in America, after having in vain solicited the patronage of the British and French Governments for his enterprise. The proposal of Fulton, submitted to the Academy of Paris, was received with a burst of laughter, and Napoleon abandoned the project in deep disgust at having been, as he supposed, made a dupe of by Fulton. We have pointed out on the preceding page the period of the first application of the steam-engine to railways.

By the marvellous aids of canals and steam-engines manufacturing power became most immensely augmented in all directions, but especially in the spinning and weaving of cotton goods. The machines invented by Wyatt and Paul in 1733, and improved by Arkwright in 1767, if not invented anew, without knowledge of Wyatt and Paul's plan of spinning by rollers—a moot point; the spinning-jenny with seven spindles, invented by James Hargreaves, a weaver near Blackburn, in 1767; and the mule-jenny, combining the working of the machines of Arkwright and Hargreaves, by Samuel Crompton, in 1779, completely superseded spinning cotton yarn by hand. These machines were first worked by water power, but steam power was used after the steam-engine had been invented; and the growth of cotton-spinning became rapid beyond conception, spreading over all Lancashire and the midland counties in a marvellous manner. The cotton-mills of Robert Peel, in Lancashire and Staffordshire; of the Strutts, at Belper, in Derbyshire; of Dale, at New Lanark; of Robinson, at Papplewick; and Arkwright, at Cromford, which raised these gentlemen to vast wealth, being only the leviathans amongst swarming concerns of less dimensions.

To these, in 1785, the Rev. Dr. Edmund Cartwright introduced a loom for weaving by water or steam power, which soon superseded hand-loom weaving. In 1803 Mr. H. Horrocks greatly improved this, and from this germ has grown up the system of weaving cottons, silks, and woollens by machinery. Add to this the application of similar machinery to calico-printing, and the like to weaving of lace, invented by Robert Frost, of Nottingham, or by a working mechanic of that town named Holmes, which afterwards received many improvements, and we have the varied means by which the manufacturing power of England was raised far above that of all the world; and which, reaching other countries in spite of legislative impediments, soon established similar manufactures in France, Belgium, Germany, Switzerland, and America. In Great Britain alone the importation of raw cotton was increased from 4,764,589 lbs. in 1771 to 151,000,000 lbs. in 1818; and such was the spread of trade of all kinds from the use of machinery, that our exports of manufactured goods in 1800, when the European nations were incapacitated for manufacturing by Napoleon's general embargo, amounted to £116,000,000.

Almost every other manufacture shared in this surprising impulse from machinery and thespirit of invention. It was an age of new creations and of unprecedented energies. In 1763 Josiah Wedgwood, of the Staffordshire Potteries, commenced that career of improvement in the biscuit, form, and printing of porcelain which constituted a new era in the art. At that time the French fine pottery was so much superior to the English that it was extensively imported. In fact, it was a period when taste in every department of art was at the lowest ebb. Wedgwood, being a good chemist, not only improved the body of his earthenware, but, being a man of classical taste, introduced a grace and elegance of form before unknown to British pottery. He invented a new kind of composition so hard and marble-like that it resisted both fire and acids; and in this he moulded statuettes, cameos, and medallions from the Greek originals, of great beauty. Sir William Hamilton having brought over from Italy a quantity of antique vases, etc., Wedgwood benefited by them to introduce fresh forms and colouring in his wares, and probably on this account called his pottery-works Etruria. He had the aid of Mr. Chisholm, a practical chemist, in his researches into the best composition and colours for his porcelain, and his improvements laid the foundation of the great pottery trade of Staffordshire.

Many improvements were made also in the glass manufacture during this reign, and more would undoubtedly have been made but for the very heavy duties upon it to help to support the ruinous wars of the period. In 1760, the first year of the reign, crown glass is said to have been introduced. In 1763 the first glass plates for looking-glasses and coach-windows were made at Lambeth. In 1779 flint-glass was first made; and about that time plate-glass. The duties on different kinds of glass at that date were about one hundred and forty thousand pounds per annum. So oppressive were those duties that, in 1785, the St. Helens Plate-glass Company petitioned Parliament, stating that, in consequence of the weight of taxation, notwithstanding an expenditure of one hundred thousand pounds, they had not been able to declare a dividend.

The introduction of the steam-engine, railroads, and canals enabled the coal-miners during this reign to extend the supply of coals enormously. In 1792 the coal-mines of Durham and Northumberland alone maintained twenty-six thousand two hundred and fifty persons, and employed a capital of three million one hundred and thirty thousand pounds—a very small amount of both people and money as compared with the workers and capital engaged in the trade since the expansion of the manufacturing and steam systems. The coal-fields of Durham and Northumberland extend to nearly eight hundred square miles, but the beds in Northumberland, Durham, Yorkshire, the Midland Counties, South of Scotland, and Ireland, are still immense and not yet fully explored. Fresh strata are discovered as steam power enables us to go deeper. In 1817 Sir Humphry Davy perfected his safety-lamp, which, by means of a simple wire gauze, enabled the miner to work amid the most explosive gases. These lamps, however, were not able to protect the colliers from their own carelessness, and most horrible destruction, from time to time, took place amongst them from neglect.

With the reign of George III. commenced a series of improvements in the manufacture of iron, which have led not only to a tenfold production of that most useful of metals, but to changes in its quality which before were inconceivable. Towards the end of the reign of George II. the destruction of the forests in smelting iron-ore was so great as to threaten their extinction, and with it the manufacture of iron in Britain. Many manufacturers had already transferred their businesses to Russia, where wood was abundant and cheap. It was then found that coke made from coal was a tolerable substitute for charcoal, and, in 1760, the very first year of the reign of George III., the proprietors of the Carron Works in Scotland began the use of pit-coal. Through the scientific aid of Smeaton and Watt, they applied water-, and afterwards steam-power, to increase the blast of their furnaces to make it steady and continuous, instead of intermitting as from bellows; and they increased the height of their chimneys. By these means, Dr. John Roebuck, the founder of these works, became the first to produce pig iron by the use of coal. This gave great fame to the Carron Works, and they received large orders from Government for cannon and cannon-balls. It was some time, however, before enough iron could be produced to meet the increasing demand for railroads, iron bridges, etc.; and so late as 1781 fifty thousand tons were imported annually from Russia and Sweden.

JAMES WATT. (After the Portrait by Sir W. Beechey, R.A.)

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The employment of pit-coal had not reached perfection, and in 1785 the Society of Arts offered a premium for the making of fine bar iron with pit-coal. This object was accomplished by Mr. Cort, an iron-founder of Gloucestershire, by exposing the pig iron on the hearth of a reverberatory furnace to the flame of pit-coal. This process was improved into what was calledpuddling, in puddling or reverberatory furnaces. Cort also introduced the drawing out of iron between cylindrical rollers; but he became ruined in his experiments, and other iron-masters of more capital came in to reap the profit. Many years passed before a pension was conferred on some of his children for his services. In 1755 the whole population of Carron was only one thousand eight hundred and sixty-four; in 1795 the workmen alone employed in the works were one thousand, the population four thousand, when the foundry had five blast furnaces, sixteen air furnaces, three cupola furnaces, and consumed one hundred and thirty-six tons of coals daily. It supplied to the Government eleven thousand tons annually of cannon, mortars, shot, shells, etc.; to the East India Company six thousand tons; and to all customers together twenty-six thousand tons. The growth of the iron trade in Great Britain, through these improvements, may be seen from the fact that in 1802 there were one hundred and sixty-eight blast furnaces, producing two hundred and twenty thousand tons of iron; in 1820 the annual production of iron was four hundred thousand tons; in 1845 the production was calculated at twice that amount—that is, in twenty-five years the production had doubled itself. In 1771 the use of wire ropes, instead of hempen ones, was suggested by M. Bougainville, and this was made a fact by Captain Brown, in 1811. Before this, in 1800, Mr. Mushet, of Glasgow, discovered the art of converting malleable iron, or iron ore, into cast steel; and in 1804 Samuel Lucas, of Sheffield, further extended the benefit by the discovery of a modeof converting any castings from pig iron at once into malleable iron, or cast steel, so that knives, forks, snuffers, scythes, and all kinds of articles, were converted into steel, "without any alterative process whatever between the blast furnace and the melting-pot." In 1815 it was calculated that two hundred thousand persons were employed in manufacturing articles of iron, the annual value of which was ten million pounds.

With the war the manufacture of guns and arms of all kinds was greatly increased, and several important improvements were made in the construction of gun-barrels and their breeches. All kinds of cutlery were improved, but, at the same time, both Government, by contractors, and foreign countries, by merchants, were imposed on by articles that had more show than use, to the serious injury of the British reputation. Knives and razors were sent out of mere iron, and our pioneers and sappers and miners were often supplied with axes, picks, and shovels more resembling lead than iron.

Great attention during this reign was devoted to the manufacturing of clocks and watches. To such eminence had the English manufacture of watches arrived, that in 1799 it was calculated that the value of watches and marine chronometers alone manufactured in and around London amounted to a million of money yearly. In 1762 John Harrison claimed the reward offered by Act of Parliament for a chronometer which would ascertain the longitude within sixty, forty, or thirty miles. For the least accurate of these the reward was ten thousand pounds, for the next more accurate fifteen thousand pounds, and for the best twenty thousand pounds. Harrison produced a chronometer which, after two voyages to the West Indies, entitled him to the highest prize, but a fresh Act of Parliament was passed, refusing him more than two thousand five hundred pounds until he had made known the principle of his invention, and assigned his chronometer for the public use. Even when these new terms were complied with he was only to receive ten thousand pounds, and the remainder on the correctness of the chronometer having been sufficiently tested. Harrison very justly complained of these new stipulations, and of the delays thus interposed; but in 1767, nine years before his decease, he obtained the full amount of the premium. In 1774 a premium of five thousand pounds was offered by Act of Parliament for a chronometer that should ascertain the longitude within one degree of a great circle, or sixty geographical miles; seven thousand five hundred pounds for one that would ascertain the longitude within two-thirds of that distance; and ten thousand pounds for one that would ascertain it within half a degree. This called out the efforts of various competitors—Harrison, Meadge, Kendal, Coombe, and numbers of others. In 1777 Meadge produced two, which were submitted to the test of the Astronomer-Royal, Dr. Maskelyne, and pronounced unfavourably upon; but Meadge petitioned Parliament against this decision, and, on the report of a committee on his chronometers, he was awarded a premium of two thousand five hundred pounds.

In 1783 the English carriage-builders, who had before been considered inferior in elegance to the French makers, began to receive large orders from Paris itself. In 1759 Walter Taylor and son introduced machinery for cutting blocks, sheaves, and pins for ships. Saw-mills were also introduced into Great Britain, in 1767, by Mr. Dingley, of Limehouse.

In the art of printing, the process of stereotyping (originally invented by William Ged) was re-invented by Mr. Tulloch, in 1780. In 1801 lithography was introduced into England from Germany, but was not much used till Mr. Ackermann began to employ it, in 1817. In 1814 steam was first applied to printing in theTimesoffice.

The art of coining received, like other things, a new facility and perfection from the application of the steam-engine. Messrs. Boulton and Watt, at the Soho Works, set up machinery, in 1788, which rolled out the metal, cut out the blanks, or circular pieces, shook them in bags to take off the rough edges, and stamped the coins—in higher perfection than ever before attained—at the rate of from thirty to forty thousand per hour.

To this prolific reign belongs also the discovery of coal-gas. In 1792 William Murdoch, an engineer, lighted his own house with it in Redruth, in Cornwall. The same gentleman illuminated the Soho Works of Messrs. Boulton and Watt with it at the Peace of Amiens, in 1802; and in the year 1804 some of the cotton mills in Manchester began to use it. In 1807 it was used in Golden Lane, in London; in 1809 Mr. Winsor, a German, lit up Pall Mall with it; and in 1813 the first chartered gas company was established in London, and gas soon spread through all the large towns.

In astronomy, Herschel discovered the planet Uranus in 1781; in 1802 he published, in the "Philosophical Transactions," his catalogue of fivehundred new nebulæ and nebulous stars; and in 1803 announced his discovery of the motion of double stars round each other. In chemistry, Sir Humphry Davy, in 1807, extracted their metallic bases from the fixed alkalies; in 1808 demonstrated the same fact as it regarded the alkaline earths; in 1811 discovered the true nature of chlorine; in 1815 invented his safety lamp; and in 1817 (as already mentioned) brought it to perfection. In 1804 Leslie published discoveries of the nature and properties of heat; in 1808 Dalton announced his atomic theory; and in 1814 Wollaston completed its development and proof.

Amongst the fine arts, the first to which we direct attention, that is, music, was warmly patronised by the Royal Family, and therefore maintained the status which it had acquired in the last reign, though it produced no great original genius. Church music continued to be cultivated, and the anthems of Kent, published in 1773, and those of Nares, published in 1778, were of much merit. To these we may add the services and anthems of Doctors Hayes, Dupuis, Arnold, Cooke, Ayrton, and of Mr. Battishill. The "Shunamite Woman," an oratorio by Arnold, appeared at a later date, as well as the anthems and services of Dr. Whitfield.

In the early part of the reign the English operas of Augustine Arne, "Artaxerxes" and "Love in a Village"—the former principally a translation from Metastasio—were much admired. For the rest, there were numbers of lovers and professors of the art, both in sacred, operatic, and glee music. The Catch Club was formed in 1761, and zealously supported, as well as the Concerts of Ancient Music in 1776. Under the patronage of this society, and particularly of his Majesty, took place the celebrated Handel "Commemoration" in Westminster Abbey, in May and June of 1784. During the early part of the reign, too, appeared several distinguished works in this department. At the head of these stood the "Histories of Music," by Sir John Hawkins and Dr. Burney; Dibdin's "Musical Tour;" Dr. John Browne's "Dissertation on Poetry and Music;" the "Letters" of Jackson, of Exeter; and Mason's "Essays on Church Music." In the later portion of the reign there was much love of music, but little original composition, except for the stage, where Arnold, Shield, Storace, and Dibdin produced the most delightful compositions. Arnold's "Castle of Andalusia," "Inkle and Yarico," "The Surrender of Calais," and "The Mountaineers;" and Shield's "Rosina," "The Poor Soldier," "The Woodman," and "The Farmer," are universally admired. The sea songs of Charles Dibdin are as imperishable as the British navy, to which they have given a renown of its own. He wrote about one thousand four hundred songs, thirty dramatic pieces, "A Musical Tour," and a "History of the Stage," and was allowed, after all, to die in deep poverty, after charming the world for half a century. During the latter part of the reign music was in much esteem, and musical meetings in various parts of the country—in London, the opera, Ancient Concerts, and performances by foreign composers, such as Handel's "Messiah," Beethoven's "Mount of Olives," Mozart's opera of "Don Giovanni," etc.—were flocked to, but little native genius appeared.

During this reign architecture was in a state of transition, or, rather, revolution, running through the Palladian, the Roman, the Greek, and into the Gothic, with a rapidity which denoted the unsettled ideas on the subject. At the commencement of the reign James Paine and John Carr were the prevailing architects. Worksop Manor, since pulled down, and Keddlestone, in Derbyshire, were the work of Paine; but Robert Adam, an advocate for a Roman style, completed Keddlestone. Carr built Harewood House, and others of a like character, chiefly remarkable for Grecian porticos attached to buildings of no style whatever. The Woods, of Bath, employed a spurious Grecian style in the Crescent in that city, Queen's Square, the Pounds, etc., which, however, acquired a certain splendour by their extent andtout ensemble. To these succeeded Robert Taylor, the architect of the Bank of England and other public buildings, in a manner half Italian, half Roman. Sir William Chambers, of more purely Italian taste, has left us Somerset House as a noble specimen of his talent. Robert and James Adam erected numerous works in the semi-Roman semi-Italian style, as Caenwood House, at Highgate, Portland Place, and the screen at the Admiralty. In Portland Place Robert Adam set the example of giving the space necessary for a great metropolis. James Wyatt, who succeeded Chambers as Surveyor-General in 1800, destined to leave extensive traces of his art, commenced his career by the erection of the Pantheon, London, in the classical style, and then took up the Gothic style, which had begun to have its admirers, and in which James Essex had already distinguished himself by his restoration of the lantern of Ely Cathedral, and in other works at Cambridge. Wyatt was employed to restore someof the principal colleges at Oxford, and to do the same work for the cathedral of Salisbury and Windsor Castle. In these he showed that he had penetrated to a certain extent into the principles of that order of architecture, but was far from having completely mastered them. A greater failure was his erection of Fonthill Abbey, for Beckford, the author of "Vathek," where he made a medley of half an abbey, half a castle, with a huge central church tower, so little based on the knowledge of the Gothic architects that in a few years the tower fell. Wyatt, however, was a man of enterprising genius. Co-temporary with Wyatt, George Dance made a much less happy attempt in Gothic in the front of Guildhall, London; but he built Newgate and St. Luke's Hospital in a very appropriate style. One of the most elegant erections at this period was the Italian Opera House, by a foreigner, Novosielsky, in 1789. Nor must we omit here the publication of John Gwynn's "London and Westminster Improved," in 1766, by which he led the way to the extensive opening up of narrow streets, and throwing out of fresh bridges, areas, and thoroughfares, which have been since realised, or which are still in progress.

SchoolmasterLadyParsonGentlemanServantCOSTUMES AT THE END OF GEORGE III.'S REIGN.

SchoolmasterLadyParsonGentlemanServant

COSTUMES AT THE END OF GEORGE III.'S REIGN.

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A VILLAGE MERRYMAKING.FROMTHEPAINTINGBYW. P. FRITH, R.A.,INTHEVICTORIAANDALBERTMUSEUM, SOUTHKENSINGTON.

A VILLAGE MERRYMAKING.

FROMTHEPAINTINGBYW. P. FRITH, R.A.,INTHEVICTORIAANDALBERTMUSEUM, SOUTHKENSINGTON.

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Sir John Soane, who had been a pupil of Dance, Holland, and Sir William Chambers, introduced a more purely Greek style, and his achievements may be seen in Dulwich Gallery and Trinity Church, Marylebone. The most eminent disciples of this school were William Wilkins and Sir Robert Smirke. Wilkins was a servile copyist, and the National Gallery is the chief monument of his skill, or want of it. Sir Robert Smirke was of a higher order, and his erection of Covent Garden Theatre, the Mint, the Post Office, the College of Physicians, the law courts at Gloucester, Lowther Castle, etc., speak for themselves. Nash, the contemporary and successor of these architects, has left us abundance of his Græco-Romano-Italian medleys in the church in Langham Place, Regent's Park, and Buckingham Palace. The great merit of Nash was, that, like the brothers Adam, he gave us space, and showed, as in Regent's Park, what was needed for an immense metropolis. Towards the endof the reign Gothic architecture was more cultivated, and one of Wyatt's last works was Ashridge House, in Buckinghamshire, a vast and stately Gothic pile, imposing in general effect, but far from pure in style. Still less so was Eaton Hall, in Cheshire, built by William Pordon; but the real Anglo-Gothic was now receiving the true development of its principles by the works of James Bentham, Carter, John Britton; and, finally, Thomas Rickman, in 1816, published his "Attempt to Discriminate the Styles of English Architecture," which placed these principles perspicuously before the public.

SIR JOSHUA REYNOLDS. (After the Portrait by Himself.)

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Under Sir Joshua Reynolds a perfect revolution in the art of painting, as practised in England, was effected. He threw aside past traditional fashions, and returned to nature; and his portraits at once excited the consternation of the painters of the day, and placed him in the very first rank of artists. In 1768 was established the Royal Academy, and amongst its foreign members were Benjamin West and Angelica Kauffmann. West produced all his great works in England, and, however much they may now be criticised, they showed an advance on past art in England, and had the merit of introducing modern costume for modern heroes, as in the "Death of General Wolfe," contrary to the advice of even Reynolds himself. Barry made a spasmodic attempt to lead the public back to what he deemed the classical, but in vain; and the successive appearance of Wilson, Gainsborough, and Opie, in different styles, but all genuinely English, established the public in its attachment to the true English school. Wilson, during his lifetime, indeed, was neglected, and died in poverty; but the next generation made theamendeto his fame, though too late for his own enjoyment of it. ToPaul Sandby we owe the origin of the water-colour school, which afterwards grew so extensive and so rich in production. Amongst eminent painters of this portion of the reign we must mention Wright of Derby, Mortimer, Stubbs and Sawrey, animal painters, and Copley, who, though an American by birth, produced most of his works in England.

Of water-colour painters who extended the fame of the school were Payne, Cozens, Glover, Girtin, and Turner; but Turner soon deserted water for oil. In 1804 the Water-Colour Society was established, and Turner was not amongst its numbers, having already gone over to oil-painting; but there were Varley, Barrett, Hills, Rigaud, and Pocock. Wild and Pugin were exhibitors of architectural drawings at its exhibitions. Afterwards came Francia, Westall, Uwins, De Wint, Mackenzie, Copley Fielding, Robson, Prout, Gandy, and Bonington. In their rear, but extending beyond the reign, appeared a brilliant host.

In general art the names of Fuseli, Northcote, and Stothard stand eminent, and were the foremost contributors to Alderman Boydell's celebrated Shakespeare Gallery. There were also Hoppner, Beechey, Morland; in Scotland, Sir William Allan and Sir Henry Raeburn. In caricature Gillray was a worthy successor to Hogarth.

In 1805 a great step in British painting was made by the establishment of the British Institution; and in 1813 this institution opened the National Gallery. The annual exhibitions soon became enriched by the consummate works of Hilton, Etty, Haydon, Briggs, Sir Thomas Lawrence (in elegant portraits), Phillips, Shee, Carpenter, Harlow, Wilkie, Mulready, Turner, Calcot, Collins, Landseer, Martin, Danby, Howard, Cooper, Leslie, and Hone. No age in England had produced so illustrious a constellation of painters, as varied in character as they were masterly in artistic power.

The art of sculpture, like that of painting, took a new spring in this reign, but the early part of it was encumbered by the tasteless works of Wilton, Read, and Taylor. It remained for the genius of Banks, Nollekens, Bacon, Baily, Behnes, and Chantrey, to place sculpture on its proper elevation in England.

To the art of engraving Woollett and Strange gave a first-rate eminence, and were successfully followed by Browne, Byrne, Rosker, and Major. In mezzotint M. Ardell admirably rendered the portraits of Sir Joshua Reynolds; and Smith, Green, Thomas, and Watson also excelled in this class of engraving. In engravings for books Heath and Angus stand pre-eminent; and Boydell's "Shakespeare" spread the taste, though his illustrations were chiefly done in the inferior style of dot engraving. In line engraving the names of Sharp, Sherwin, Fittler, Anker Smith, Neagle, Lowry, Turrell, Scott, and others, are of high repute. In landscape engraving no names, in the middle period of the reign, stood more prominent than those of Middiman, Watt, Angus, Milton, Pouncey, Peak, and Taylor.

There arose a second school of mezzotint engravers, the chief of whom were Earlom, Reynolds, Daniell, Sutherland, and Westall. The strange but intellectual Blake was both painter and his own engraver, in a style of his own. Towards the end of the reign flourished, chiefly in architectural illustrations, Le Keux, John and Henry, pupils of Bazire, Roffe, Ransom, and Scott; in landscape, William and George Cooke, William and Edward Finden, Byrne, and Pye; in portrait, Charles and James Heath, John Taylor, Skelton, Burnet, Bromley, Robinson, Warren, and Lewis.

In wood engraving, Thomas Bewick, of Newcastle-on-Tyne, revived the art, and threw such fascination into it by the exquisite tail-pieces in his "Natural History," that his name will always be associated with this style of engraving.

Of the coinage of this reign little is to be said. It was of the most contemptible character till Boulton and Watt, as already mentioned, struck the copper pence in 1797 in a superior style. In 1818 was issued a gold and silver coinage, which was entrusted to a foreign artist, Pistrucci, and which was turned out of very unequal merit. Flaxman would have produced admirable designs, and there was a medallist of high talent, Thomas Wyon, who would have executed these designs most ably. In fact, the best part of the silver coinage was produced by Wyon, from the designs of Pistrucci.

In the early portion of the reign the manners and customs differed little from those described in the preceding one. There was great dissipation, and even coarseness of manners, amongst the nobility and gentry. It was the custom to drink to intoxication at dinners, and swearing still garnished the language of the wealthy as well as of the low. Balls, routs, the opera, the theatre, with Vauxhall and Ranelagh, filled up the time of the fashionable, and gaming was carried to an extraordinary extent. Amongst our leading statesmen Charles Fox was famous for this habit. Duelling was equally common, and infidelity amongst fashionable people was ofnotorious prevalence. George III. and his queen did what they could to discourage this looseness of morals, and to set a different example; but the decorum of the Court was long in passing into the wealthy classes around it. An affluent middle class was fast mingling with the old nobility, and this brought some degree of sobriety and public decency with it. Amongst the lower classes dog-, cock-, and bull-fights were, during a great part of the reign, the chief amusements, and the rudest manners continued to prevail, because there was next to no education. Wesley, Whitefield, and their followers, were the first to break into this condition of heathenism. Robberies and murders abounded both in town and country, and the police was of a very defective character. For the most part there was none but the parish constable. The novels of Fielding and Smollett are pictures of the rudeness and profligacy of these times. The resources in the country of books and newspapers were few, and the pot-house supplied the necessary excitement. The clergy were of a very low tone, or were non-resident, and the farmers, getting rich, aped the gentlemen, followed the hounds, and ended the day with a carouse.

Gradually, however, a more refined tone was diffusing itself. The example of the head of the nation had not been without its effect. The higher classes abandoned Ranelagh and Vauxhall to the middle and lower classes, if they did not abandon their theatre, opera, and rout. But the theatres, too, became more decorous, and the spread of what had been called Methodism began to reach the higher classes through such men as Wilberforce, and such women as the Countess of Huntingdon and Hannah More. The most palpable drawback to this better state of sentiment and manners was the profligacy of the Prince of Wales and his associates. But towards the end of the reign a decided improvement in both manners and morals had taken place. The momentous events passing over the world, and in which Great Britain had the principal agency, seemed to have rooted out much frivolity, and given a soberer and higher tone to the public mind. The spread of a purer and more humane literature baptised the community with a new and better spirit; art added its refinements, and religion its restraints. The efforts to introduce education amongst the people had begun, and the lowest amusements of dog-fighting, cock-fighting, and bull-baiting were discouraged and put down. The new birth of science, art, literature, and manufactures was accompanied by a new birth of morals, taste, and sentiment, and this, happily, was a true birth; and the growth of what was then born has been proceeding ever since.

In the opening of the reign the gentlemen retained the full-skirted coat, with huge cuffs, the cocked-hats and knee-breeches of the former period. Pigtails were universal, and the more foppish set up their hair in a high peak, like the women. The ladies had their hair turned up on frames half a yard high, and this hairy mountain was ornamented with strings of pearls or diamonds, or surmounted with a huge cap edged with lace. They wore their waists as long as possible, with a peaked stomacher, and hanging sleeves of Mecklenburg lace. Their gowns were of the richest silks, satins, and brocades, their skirts flowing; and the fan was an indispensable article.

In the army the cocked-hat and pigtail at first prevailed, but these were soon dismissed, as well as the great jack-boots of the cavalry. With the employment of the Hessian soldiers in the American war, and afterwards on the Continent, there prevailed amongst English gentlemen the Hessian boot; instead of thequeue, cropped hair and close-fitting small hats became the vogue. Powdering became profuse, both amongst ladies and gentlemen, till Pitt taxed it, when it vanished, except from the heads of particularly positive old gentlemen and servants.

During the French war, when the Paris fashions were intercepted, much variety in the fashion of dress took place amongst both gentlemen and ladies; but before the peace had arrived the most tasteless costumes had become general, and the waists of both sexes were elevated nearly to their shoulders. The tight skirts and short waists of the ladies gave them the most uncouth aspect imaginable; and the cut-away coats and chimneypot hats of the gentlemen were by no means more graceful. The military costume had undergone an equally complete revolution, and with no better success.

The changes in furniture were not remarkable. During the French war a rage for furniture on the classic model had taken place; but on the return of peace Paris fashions were restored. Rosewood superseded mahogany, and a more easy and luxurious style of sofa and couch was adopted. There came also Pembroke tables, Argand lamps, register stoves, Venetian and spring blinds, a variety of ladies' work-tables and whatnots; and a more tasteful disposition of curtains and ornamental articles purchased on the Continent.

THE REIGN OF GEORGE IV.

Accession of George IV.—Meeting of Parliament—General Election—Opening of the New Session—Dulness of Affairs—Brougham on Education—Queen Caroline—Omission of her Name from the Liturgy—She rejects the King's Proposals, and arrives in England—Attempts at a Compromise—The King orders an Inquiry—The Secret Committee—The Bill of Pains and Penalties—Arrival of the Queen in the House of Lords—Discussions on the Form of Procedure—Speeches of Denman and the Attorney-General—Evidence for the Prosecution—Brougham's Speech—Abandonment of the Bill—General Rejoicings—Violence of Party Feeling—Popularity of the Queen—Her Claim to be crowned refused—The Queen's Attempt to enter the Abbey—Indiscretion of the Act—The Coronation and the Banquet—The subsequent Scramble—Death of the Queen—Departure of her Body—The King's Visit to Ireland—A Royal Oration and its enthusiastic Reception—The King and Lady Conyngham—Changes in the Government—Discontent of Eldon—Wellesley in Ireland—Alarming State of the Country—Canning's Speech on Catholic Emancipation—Parliamentary Reform—Agricultural Distress and Finance—Eldon's Outbreak on the Marriage Bill—Suicide of Lord Londonderry—Scene at his Funeral—Visit of George IV. to Scotland—Loyalty of Sir Walter Scott—Account of the Festivities—Peel's Letter to Scott—Return of the King—Canning takes the Foreign Office and Leadership of the House of Commons—Huskisson joins the Cabinet—The Duke of Wellington sent to Verona—His Instructions—Principles of the Holy Alliance—The Spanish Colonies—French Intervention in Spain—The Duke's Remonstrances with the French King—His Interview with the Czar—The Congress of Verona—Failure of Wellington to prevent Intervention in Spain—Vindication of Canning's Policy in the Commons—He calls the New World into Existence.

George III. expired on the 29th of January, 1820. Although it was Sunday, both Houses of Parliament met according to the requisition of the statute, 6 Anne c. 7. Lord Eldon merely appeared on the woolsack; and, as soon as prayers were read, the House of Peers was adjourned. The same day a council was held at Carlton House, when the usual ceremonies were observed, as upon the commencement of a new reign, although George IV. had been virtually king during the period of the Regency. On this occasion the Ministers delivered up the emblems of their different offices, and were all graciously reappointed. Lord Eldon, in a letter to his daughter, felicitates himself on having been thus placed "in the very singular situation, that of a third Chancellorship." But Lord Campbell remarks that he was probably not aware that one of his predecessors had been Chancellor five times. His immediate successor had been four times Chancellor, and Lord Cottenham three times. "It is amusing," says Lord Campbell, "to observe how he enhances the delight he felt at the commencement of this third Chancellorship by protestations that he was reluctantly induced again to accept the worthless bauble, lest, by declining it, he should be chargeable with ingratitude." The Chancellor made similar protestations of reluctance and humility when George IV., grateful for his services in connection with the prosecution of the queen, pressed upon him accumulated honours; giving him, at the same time, two additional steps in the peerage, as Viscount Encombe and Earl of Eldon—honours which, he said, he had repeatedly declined to accept when offered by George III.

Parliament again met for a few days, but only to vote Addresses of condolence and congratulation, as a dissolution had been determined on. The Marquis of Lansdowne pointed out that there was not the usual reason for a dissolution which occurred upon a demise of the Crown; but Lord Eldon explained that, at common law, the Parliament died with the Sovereign in whose name it was called; and although, by the statute of William III., it could sit six months longer, it was liable to be dissolved sooner; and constitutionally it ought to be dissolved as soon as public business would allow; so that noble lords who started any business to delay the dissolution would be obstructing the due exercise of the Royal Prerogative. He, as Lord Commissioner, therefore, concluded the Session by delivering the Royal Speech, which deplored the loss of a Sovereign, the common father of all his people, and praised the prudence and firmness with which the Lords and Commons had counteracted the designs of the disaffected.

The general election was, on the whole, favourable to the Government; the forces of Conservatism being roused into activity by the violent democratic tendencies of the times, and by the threats of revolution. The new Parliament met on the 21st of April. Mr. Manners Sutton was re-elected Speaker. A week was occupied in swearing in the members, and the Session was opened on the 27th by a Speech from the king, the vagueness of which gave no ground for an amendment to the Address in either House. In the old roll of members one illustrious name was found, borne by a statesman who was never more to take his seat in the House.Henry Grattan expired (June 4) soon after the Session commenced. Sir James Mackintosh, in moving a new writ for Dublin, which Grattan had represented for many years, observed "that he was, perhaps, the only man recorded in history who had obtained equal fame and influence in two assemblies differing from each other in such essential respects as the English and Irish Parliaments."

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