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TWO: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.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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