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John Charles Spencer was seen by many as the architect of the Reform bill.
John Charles Spencer was seen by many as the architect of the Reform bill. Photograph: Hulton Archive/Getty Images
John Charles Spencer was seen by many as the architect of the Reform bill. Photograph: Hulton Archive/Getty Images

From the Observer archive: this week in 1832

This article is more than 6 years old
The Reform bill, giving votes to hundreds of thousands more people, finally passes through the House of Commons

The Reform Bill has at length passed the Commons in a manner most satisfactory to its supporters and to the people. In a House of 594 Members, who were assembled on this extraordinary occasion, there were 355 for the third reading, and 239 against it, leaving a majority of 116. This number gives, proportion to the Members present, a result precisely the same as that of last year on the former Bill.

Surprise has been expressed by some of the friends of Reform that the majority was not greater. Exultation has been manifested by the opponents of the Bill that it was still so small.

We apprehend that there is little reason for the indulgence of either feeling. From the composition of the original Minority, and the motives they had for union and perseverance, no hopes could be rationally entertained that their numbers would be much lessened by chance, or change, in a contest for political existence; and the still nicely balanced proportions on the division must therefore be looked at as an indication that there has been none of that re-action which has been so confidently asserted, but that, on the contrary, the advocates of Reform have retained their convictions of the necessity of the course they adopted, and steadily and resolutely pursued it.

All interested are now concentrated on the debate on the second reading in the House of Lords.

Key quote

‘Government is an experimental science – its conclusions are the creatures of experience’

Thomas Macaulay MP in the House of Commons

Talking point

In person, Madame Battiste is too much inclined to embonpoint to have a good theatrical figure. The fault was in the imagination of the spectators in whose minds an Italian singer is associated with youth, grace, and beauty. Madame Battiste improves upon acquaintance, and will continue to do so.

Review of Gaspare Spontini’s La Vestale at the King’s Theatre, London

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