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FORE:260The 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.

FORE:The regathering of Parliament, on the 11th of November, was distinguished by two circumstances of very unequal interest. The Prince of Wales, having arrived at his majority, took his seat as Duke of Cornwall, as it was well known, intending to vote for a great measure which Fox was introducing regarding India. We shall now almost immediately enter on the narration of the[302] important events which had been transpiring in India during the American war. It is sufficient here to observe that these were of a nature to give the most serious concern and alarm to all well-wishers of the country, and of the unfortunate natives of that magnificent peninsula. Fox's measure for the reform and restraint of the East India Company was comprehended in two Bills, the first proposing to vest the affairs of the Company in the hands of sixteen directors, seven of them to be appointed by Parliament, and afterwards sanctioned by the Crown, and nine of them to be elected by the holders of stock. These were to remain in office four years; the seven Parliament nominees to be invested with the management of the territorial possessions and revenues of the Company; the nine additional to conduct the commercial affairs of the Company under the seven chief directors; and both classes of directors to be subject to removal at the option of the king, on an address for the purpose from either House of Parliament. The second Bill related principally to the powers to be vested in the Governor-General and Council, and their treatment of the natives.