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 scholars, and argued with the statesmen, and jested with the wits. Doctor Burney, an impartial observer, says that he was amazed by the knowledge of music that the Regent displayed in a half-hour's discussion over the wine. Croker says that "the Prince and Scott were the two most brilliant story-tellers, in their several ways, he had ever happened to meet. Both exerted themselves, and it was hard to say which shone the most." The Prince seems indeed to have been a fine conversationalist, with a wide range of knowledge and great humour. We, who have come at length to look upon stupidity as one of the most sacred prerogatives of Royalty, can scarcely realise that, if George's birth had been never so humble, he would have been known to us as a fine scholar and wit or as a connoisseur of the arts. It is pleasing to think of his love for the Flemish school of painting, for Wilkie and Sir Thomas Lawrence. The splendid portraits of foreign potentates that hang in the Banqueting Room at Windsor bear witness to his sense of the canvas. In his later years he exerted himself strenuously in raising the tone of the drama. His love of the classics never left him. We know he was fond of quoting those incomparable poets, Homer, at great length, and that he was prominent in the "papyrus-craze." Indeed, he inspired Society with a love of something more than mere pleasure, a love of the "humaner delights." He was a giver of tone. The bluff, disgusting ways of the Tom and Jerry period gave way to those florid graces that are still called Georgian.

A pity that George's predecessor was not a man, like the Prince Consort, of strong chastening influence! Then might the bright flamboyance which George gave to Society have made his reign more beautiful than any other—a real renaissance. But he found London a wild city of taverns and cock-pits, and the grace which in the course of years he gave to his subjects never really entered