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THREE:

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THREE:"I knew," Cairness said, turning to Landor after a very short silence, "that you and Mrs. Landor were somewhere along here. So I left my horse at a rancheria across the hill there," he nodded over his shoulder in the direction of the looming pile just behind, "and walked to where I saw the fire. I saw you for some time before I was near, but I ought to have called out. I really didn't think about startling you."

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THREE:��He had that!�� Sandy agreed.

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THREE:But that there should be a majority at all on such a question brought the Opposition to try an experiment which they had been for some time planning. This was the absurd scheme of seceding in a body from the House of Commons, on the plea that a paid and standing majority rendered all reason and argument nugatory. In the course of his farewell speech, Wyndham made use of such violent language, that Mr. Pelham jumped up to move the commitment of the honourable member to the Tower; but Walpole was too well aware that such a proceeding would only have served the ends of the Opposition, rendering them martyrs to their country's cause, and raising a vivid interest in their behalf. He therefore stopped him, and said that the measures which that gentleman and his friends might pursue gave him no uneasiness; on the contrary, the House was much obliged to them for pulling off the mask. Relieved of their presence, he now carried his measures in unopposed quiet.The style of St. Paul's, and, indeed, of all Wren's churches, is neither Grecian nor Gothic, but Italian, influenced by the fashion which Bernini, the Italian architect of Louis XIV., had introduced into France. It is a class of architecture of which the Grecian is the basis, but which is so freely innovated upon as to leave little general resemblance. In its different parts we have columns and pilasters of every Grecian and, indeed, Roman order, pediments, peristyles, architraves, and friezes, mingled up with windows of all sorts, and all kinds of recesses and projections, the fa?ades and intercolumniations ornamented with festoons, and wreaths, and human masks, and the whole surmounted by a great Eastern dome, and by campaniles partaking of[159] all the compilations of the main buildings. St. Paul's itself is a noble building, notwithstanding the manifest gleanings from the antique and the medi?val, and their combination into a whole which has nothing original but their combination into one superb design. Besides St. Paul's, the rest of Wren's churches are disappointing, and we cannot avoid lamenting that he had lost the sense of the beauty of Gothic architecture, especially when we call to mind the exquisite churches of that style which adorn so many of the Continental cities. Whilst the exteriors of Wren's churches show heavily in their huddled-up situations in London streets, their interiors, in which much more of the Grecian and Roman styles is introduced, are equally heavy, and wanting in that pliant grace which distinguishes the interiors of Gothic cathedrals. Perhaps the noblest work of Wren next to St. Paul's is Greenwich Hospital, which is more purely Grecian, and therefore displays a more graceful and majestic aspect. The Palace of Hampton Court, attached to the fine old Tudor pile of Cardinal Wolsey, is a great square mass, in which the Dutch taste of William is said to have set aside Wren's original design. But surely William did not compel him to erect that (in such circumstances) ponderous barbarism of a Grecian colonnade in the second quadrangle of Hampton Court, attaching it to a Gothic building. In fact, neither Wren nor Inigo Jones appears to have had the slightest sense of the incongruity of such conjunctions. Jones actually erected a Grecian screen to the beautiful Gothic choir of Winchester Cathedral, and placed a Grecian bishop's throne in it, amid the glorious canopy-work of that choir. The return to a better taste swept these monstrosities away.

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