FORE:The fame of Wren must rest on St. Paul's, for in palaces he was less happy than in churches. His additions to Windsor Castle and St. James's Palace, and his erection of Marlborough House are by no means calculated to do him high honour, whilst all lovers of architecture must deplore the removal of a great part of Wolsey's palace at Hampton Court to make way for Wren's structure. A glorious view, if old drawings are to be believed, must all that vast and picturesque variety of towers, battlements, tall mullioned windows, cupolas, and pinnacles, have made, as they stood under the clear heaven glittering in the sun. The writers who saw it in its glory describe it in its entireness as the most splendid palace in Europe. Of the campaniles of Wren, that of St. Bride's, Fleet Street; of Bow Church, Cheapside; of St. Dunstan's-in-the-East; and the tower of St. Michael's, Cornhill, are the finest. The last is almost his only Gothic one, and would have been a fine tower had the ornament been equally diffused over it, and not all been crowded too near the top. Wren was thwarted in his design for the London Monument. He drew a plan for one with gilt flames issuing from the loop-holes, and surmounted by a ph?nix, but as no such design could be found in the five Orders, it was rejected, and the existing commonplace affair erected. One of his last undertakings was the repair of Westminster Abbey, to which he added the towers at the west end, and proposed to erect a spire in the centre. Sir Christopher left a large quantity of drawings, which are preserved in All Souls' College library, Oxford.So it was in Larrys race, with Dick, Sandy and the caretaker.
FORE:On the morning of Monday, the 28th, the king's brother, Edward, Duke of York, and Lord Bute were sworn members of the Privy Council. It was obvious that Bute was to be quite in the ascendant, and the observant courtiers paid instant homage to the man through whom all good things were to flow. The king declared himself, however, highly satisfied with his present Cabinet, and announced that he wished no changes. A handbill soon appeared on the walls of the Royal Exchange expressing the public apprehension: "No petticoat governmentno Scotch favouriteno Lord George Sackville!" Bute had always championed Lord George, who was so bold in society and so backward in the field; and the public now imagined that they would have a governing clique of the king's mother, her favourite, Bute, and his favourite, Lord George.
FORE:
FORE:For a moody few minutes he considered the wisdom of rejoining his chums.
FORE:Opening the throttle full-on, he kicked rudder and depressed his left wing. Around came the airplane. Skidding out of her course from the momentum and the sharp application of control, she moved sharply upward and sidewise.
FORE:Landor held up a silencing hand. "If you have any explanations that you care to make, that it would be worth any one's time to listen to, you may keep them for a judge advocate." He pointed to the door.
FORE:Im off! cried Sandy, coat flung aside, collar ripped away, as he leaped fleetly along the soft turf. Not waiting to observe his progress, Dick and Larry busied themselves getting the airplane tail around into the same position it had originally occupied.
FORE:Henry Purcell (b. 1658; d. 1695) produced the bulk of his works in William's reign. He composed the music to "The Tempest," "Dioclesian," "King Arthur," "Don Quixote," "Bonduca," and "Orpheus Britannicus." Many parts of these, and his sonatas, anthems, catches, rounds, glees, etc., are as much enjoyed now as in his own day. The music to Davenant's "Circe," by Banister, of Shadwell's "Psyche," by Lock, and of Dryden's "Albion and Albanius," by Grabut, had increased in England the liking for the lyrical drama; but Purcell's compositions wonderfully strengthened it, and from "King Arthur" may properly be dated the introduction of the English opera. Gay's "Beggar's Opera," six-and-thirty years after, however, was the first complete and avowed opera, and this did not establish that kind of entertainment in England. The wonderful success of this production, which was performed for sixty-two nights (not consecutive), was chiefly derived from the wit and satire of the composition itself, the abundance of popular airs introduced, and the party feeling which it gratified. The airs were selected and adapted by Dr. Pepusch, a German, who settled in London, and became celebrated there. He also furnished the overture, and wrote accompaniments to the airs. Eleven years after, Milton's "Comus" was adapted to the stage by the Rev. Dr. Dalton, with music by Dr. Arne, who afterwards composed the music for "Artaxerxes," and thence derived a high reputation.
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