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THREE:IRISH PRISONERS LIBERATED DURING LORD MULGRAVE'S PROGRESS. (See p. 396.)Fox had now to attempt that accommodation with Buonaparte which, he had so long contended, was by no means difficult. An opportunity was immediately offered him for opening communications with the French Government. A Frenchman, calling himself Guillet de la Gevrilli��re, made his way secretly into England, and solicited an interview with Fox on a matter of high importance. Fox granted it, and was indignant at discovering that it was a proposal to assassinate Napoleon. Fox ordered the man to be detained, and wrote at once to Talleyrand, informing him of the fact, and expressing his abhorrence of it. Talleyrand replied, complimenting Fox on the[517] nobleness of his principles, and expressing the admiration of the Emperor of it. "Tell him," said Buonaparte, as reported by Talleyrand, "that in this act I recognise the principles of honour and virtue in Mr. Fox;" and he added that the Emperor desired him to say, that whatever turn affairs might now take, whether this useless war, as he termed it, might be put an end to or not, he was perfectly confident that there was a new spirit in the British Cabinet, and that Fox would alone follow principles of beauty and true greatness. These empty compliments made no way towards such a negotiation as a real burst of gratitude might have introduced, especially when accompanied by such confidence as Buonaparte avowed in Fox's sentiments; and shrewd men suspected that Gevrilli��re had most likely been dispatched by Napoleon himself, through Fouch��, to test the reality of Fox's formerly asserted indignation that Pitt, or any British Minister, could be suspected of plans of assassination against the French Emperor.

THREE:On the 22nd of February the English House of Commons resolved itself into a Committee, on the motion of Pitt, to consider these resolutions. Pitt spoke with much freedom of the old restrictive jealousy towards Ireland. He declared that it was a system abominable and impolitic; that to study the benefit of one portion of the empire at the expense of another was not promoting the prosperity of the empire as a whole. He contended that there was nothing in the present proposals to alarm the British manufacturer or trader. Goods, the produce of Europe, might now be imported through Ireland into Britain by authority of the Navigation Act. The present proposition went to allow Ireland to import and then to export the produce of our colonies in Africa and America into Great Britain. Beyond the Cape of Good Hope, or the Straits of Magellan, they could not go, on account of the monopoly granted to the East India Company.During this reign architecture was in a state of transition, or, rather, revolution, running through the Palladian, the Roman, the Greek, and into the Gothic, with a rapidity which denoted the unsettled ideas on the subject. At the commencement of the reign James Paine and John Carr were the prevailing architects. Worksop Manor, since pulled down, and Keddlestone, in Derbyshire, were the work of Paine; but Robert Adam, an advocate for a Roman style, completed Keddlestone. Carr built Harewood House, and others of a like character, chiefly remarkable for Grecian porticos attached to buildings of no style whatever. The Woods, of Bath, employed a spurious Grecian style in the Crescent in that city, Queen's Square, the Pounds, etc., which, however, acquired a certain splendour by their extent and tout ensemble. To these succeeded Robert Taylor, the architect of the Bank of England and other public buildings, in a manner half Italian, half Roman. Sir William Chambers, of more purely Italian taste, has left us Somerset House as a noble specimen of his talent. Robert and James Adam erected numerous works in the semi-Roman semi-Italian style, as Caenwood House, at Highgate, Portland Place, and the screen at the Admiralty. In Portland Place Robert Adam set the example of giving the space necessary for a great metropolis. James Wyatt, who succeeded Chambers as Surveyor-General in 1800, destined to leave extensive traces of his art, commenced his career by the erection of the Pantheon, London, in the classical style, and then took up the Gothic style, which had begun to have its admirers, and in which James Essex had already distinguished himself by his restoration of the lantern of Ely Cathedral, and in other works at Cambridge. Wyatt was employed to restore some[200] of the principal colleges at Oxford, and to do the same work for the cathedral of Salisbury and Windsor Castle. In these he showed that he had penetrated to a certain extent into the principles of that order of architecture, but was far from having completely mastered them. A greater failure was his erection of Fonthill Abbey, for Beckford, the author of "Vathek," where he made a medley of half an abbey, half a castle, with a huge central church tower, so little based on the knowledge of the Gothic architects that in a few years the tower fell. Wyatt, however, was a man of enterprising genius. Co-temporary with Wyatt, George Dance made a much less happy attempt in Gothic in the front of Guildhall, London; but he built Newgate and St. Luke's Hospital in a very appropriate style. One of the most elegant erections at this period was the Italian Opera House, by a foreigner, Novosielsky, in 1789. Nor must we omit here the publication of John Gwynn's "London and Westminster Improved," in 1766, by which he led the way to the extensive opening up of narrow streets, and throwing out of fresh bridges, areas, and thoroughfares, which have been since realised, or which are still in progress.

THREE: