"From the month of October to the end of the year, songs, and squibs, and pamphlets of all descriptions, on the misfortunes occasioned by the explosion of the bubble system, became exceedingly numerous.... The general feeling against the directors was becoming so strong in the month of November, that we are told it had become a practice among the ladies, when in playing at cards they turned up a knave, to cry, 'There's a director for you!'" The period of the South-Sea bubble was particularly prolific in caricatures. A vast number appeared in Holland and France, and for the first time political caricatures became common in England. Those of which copies are given in Mr Wright's book have small claims to wit. Most of the foreign ones were aimed at Law, and those published in this country at the 'Change Alley speculators. Hogarth's first political caricature related to the bubbles of 1720, and appeared the following year. As in France the temporary glut of wealth produced by Law's financial operations had the most unfavourable effect upon the public morals, so in England "the South-Sea convulsion had hardly subsided, when a general outcry was heard against the alarming increase of atheism, profaneness, and immorality; and an attempt was made to suppress them by act of parliament, but the bill for that purpose was not allowed to pass." Masquerades were especially inveighed against by the upholders of propriety, and were made the subject of much satire. The ugliness of Heidegger, "_le surintendant des plaisirs de l'Angleterre_," as the French called him; the conceit and caprices of the opera-singers, then, as now, notorious for their extortionate greediness and constant bickerings and jealousies; the neglect of Shakspeare and the old dramatists; the prevailing taste for pantomime and buffoonery--were so many targets for the wits and caricaturists of the day. But neither Hogarth's pencil nor the pungent pen of Pope had power to correct the depravity of public taste. Masquerades continued the favourite amusement of the town, and opera and pantomime preserved their vogue. The satirists persevered in their crusade, and as late as 1742 we find Hogarth still working the mine, in a capital caricature of Monsieur Desnoyer and Signora Barberina,--the Taglioni and Perrot of their day whose graceful attitudes he cleverly burlesques. Previously to the year 1737 the stage was used as a political engine, and violent attacks on the government were introduced into farces and pantomimes. Some of these were direct and open pasquinades, and gave great umbrage to the ministry; and amongst them two of the most conspicuous were a lampooning farce called _Pasquin_, and a dramatic satire entitled the _Historical Register for the year 1736_, both by Fielding. A still more abusive piece, to be entitled _The Golden Rump_, was spoken of as forthcoming; but, before it appeared, the matter was brought before the House of Commons; an act was passed "for restraining