becoming of Wilkes to bear the attack in so serene and even so jocular a spirit, it was not unbecoming, as it was not ungenerous, of his friends to fail to imitate the coolness of their leader. It is not quite easy to understand why, in an age of caricature, an age when all men of any notoriety were caricatured, the friends of Wilkes were so sensitive to the satire of Hogarth. Public men, and the friends of public men, have grown less sensitive. However, Wilkes's friends were, and showed themselves to be, as angry as Wilkes was, or showed himself to be, indifferent, and the hottest and angriest of them all was Churchill. Churchill could retaliate, and Churchill did retaliate with a ferocity that equalled and more than equalled Hogarth's. [Sidenote: 1763--Churchill's denunciation of Hogarth] With a rage that was prompted by friendship, yet with a coolness that the importance of the cause he championed called for, Churchill aimed blow after blow upon the offending painter. The skill of a practised executioner directed every stroke to a fresh spot, and with every stroke brought blood. The satirist called upon Hogarth by his name, to stand forth and be tried "in that great court where conscience must preside," bade him review his life from his earliest youth, and say if he could recall a single instance in which Thou with an equal eye didst genius view And give to merit what was merit's duet Genius and merit are a sure offence, And thy soul sickens at the name of sense. The poet goes on to say that "when Wilkes our countryman, {63} our common friend arose, his King, his country to defend," Malice Had killed thee, tottering on life's utmost verge, Had Wilkes and Liberty escaped thy scourge. And then, in some two hundred lines of strenuous rage, Churchill denounced Hogarth with a denunciation that was the more effective because it was accompanied by a frank and full recognition of Hogarth's great gifts and deserved title to fame. Hogarth retaliated by his famous caricature of Churchill as a canonical bear with a pot of porter in one paw and a huge cudgel in the other, the knots on the cudgel being numbered as Lie 1, Lie 2, and so forth. Instantly the great caricaturist was attacked by others eager to strike at one who had struck so hard in his day. The hatred of Bute was extended to the painter who condescended to accept Bute's patronage, and who labored to please his patron. Hogarth was derided as "The Butyfier," in mockery of his "Analysis of Beauty." It would have been as lucky for Hogarth as it would have been lucky for Bute to let Wilkes alone.