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FORE:��Well, if you must know��that Whiteside feller was there, as per usual, and along come Jeff, limpin��������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 �� 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."

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FORE:The Bill was prepared by the judges, and afterwards remodelled and conducted through the Lords by Lord Chancellor Hardwicke. It provided that banns should be published for every marriage in the parish church for three successive Sundays; that no license to waive these banns should be granted to any minor without consent of the parent or guardian; and that special licenses, empowering the marriage to be celebrated at any time or place, should only be granted by the archbishop, and for a heavy sum. The Bill was opposed in the Lords by the Duke of Bedford, and in the Commons by Henry Fox, Mr. Nugent, Mr. Charles Townshend, and others. It was declared to be a scheme for keeping together the wealth of the country in the hands of a few grasping and ambitious families. Townshend denounced it as intended to shut younger sons out of all chance of raising themselves by marriage. Henry Fox had benefited especially by the looseness of the old marriage law, for he had run away with Lady Caroline Lennox, the eldest daughter of the Duke of Richmond. He was especially severe on Lord Hardwicke, accusing him of seeking by the Bill to throw more power into the hands of the Lord Chancellor, and Hardwicke retorted with still greater acrimony. The Bill passed, and there was a strong inclination to extend its operation to Scotland, but the Scottish lawyers and representative peers defeated this attempt.

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