THREE: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.From the 11th of February to the 1st of March the struggle went on, many endeavours being made, but without effect, to come to an agreement between the parties. On the last day Fox moved that an Address be carried up to the king by the whole House, representing the violence done to the Constitution by a Minister retaining his place after a vote of want of confidence by the Commons, and insisting strongly on the right and duty of that House to advise his Majesty on the exercise of his prerogative. Pitt replied that, by attempting to force the king to decide contrary to his judgment, they were placing the sceptre under the mace; but the resolution was carried by a majority, though of twelve only, and on the 4th the Address was carried up, when the king repeated that his sentiments remained the same. Fox, on the return of the House, moved that this answer should not be taken into consideration before the 8th, and till then the Mutiny Bill should remain in abeyance. His object was to stave off a dissolution until the 25th, when the Mutiny Bill expired. By refusing to renew it, he hoped to force his rival to resign. The House on the 8th was excessively crowded, for a very warm debate was anticipated. When it came to divide about midnight, Fox was found to have carried his resolution, but only by a majority of one. This was the climax of defeat. The once triumphant Opposition saw that all was over with them, and they gave up the contest.