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ONE:Sir Robert Walpole was not a man, with his huge standing majority, to be readily frightened from his purpose. On the 14th of March, 1733, he brought forward his project in a speech in which he put forth all his ability, and that under a well-maintained air of moderation. He took advantage of the alarm that the tax was to be general, by representing the falsity of that declaration, and the very slight and limited nature of his real proposal. Adverting to what he called the common slander of his having intended to propose a general excise, he said: "I do most unequivocally assert that no such scheme ever entered my head, or, for what I know, the head of any man I am acquainted with. My thoughts have been confined solely to the duties on wine and tobacco; and it was the frequent advices I had of the shameful frauds committed in these two branches that turned my attention to a remedy for this growing evil. I shall for the present confine myself to the tobacco trade." He then detailed the various frauds on the revenue in tobacco, which he stated were of such extent and frequency, that the gross average produce of the tax was seven hundred and fifty thousand pounds.[63] but the nett average only a hundred and sixty thousand pounds. The remedy which he proposed was to transfer this revenue from the Customs to the Excise. That the same might afterwards be applied to wine, a system of warehousing for re-exportation or placing in bond was proposed, which, he said, "would tend to make London a free port, and, by consequence, the market of the world." He held out the expectation that the success of this plan would render the land tax unnecessary, and thus enable the Government to dispense with it entirely.Painting, like architecture, was at a very low ebb during this period, with one or two brilliant exceptions. Foreign artists were in demand, and there was no native talent, except that of Thornhill and Hogarth, which could claim to be unjustly overlooked in that preference. Sir Peter Lely was still living, but Sir Godfrey Kneller, another foreigner, was already taking his place. Kneller was a German, born at Lübeck, and educated under the best Flemish masters of the day. As he had chosen portrait-painting as his department, he hastened over to England after a visit to Rome and Venice, as the most profitable field for his practice, and being introduced to Charles II. by the Duke of Monmouth, he became at once the fashion. Kneller had talents of the highest order, and, had not his passion for money-making been still greater, he would have taken rank with the great masters; but, having painted a few truly fine pictures, he relied on them to secure his fame, and commenced an actual manufacture of portraits for the accumulation of money. Like Rubens, he sketched out the main figure, and painted the head and face, leaving his pupils to fill in all the rest. He worked with wonderful rapidity, and had figures often prepared beforehand, on which he fitted heads as they were commissioned. Sir John Medina, a Fleming, was the chief manufacturer of ready-made figures and postures for him, the rest filled in the draperies and backgrounds. Kneller had a bold, free, and vigorous hand, painting with wonderful rapidity, and much of the grace of Vandyck, but only a few of his works show what he was capable of. The beauties of the Court of William and Mary, which may be seen side by side with those of the Court of Charles II. by Lely at Hampton Court, are far inferior to Lely's.

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