THREE: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.On the 12th of February, 1823, the President of the Board of Trade said, in his place in Parliament:"The general exports of the country in the four years from 1815 to 1819 had decreased 14,000,000 in official value; and he took the official value in preference to the declared, because it was from the quantity of goods produced that the best measure was derived of the employment afforded to the different classes of the community. In the year from the 5th of January, 1819, to the 5th of January, 1820, the exports of the country fell off no less than 11,000,000; and in looking at that part of it which more completely embraced British or Irish manufacture, he found that the difference in four years was 8,414,711; and that in the year from the 5th of January, 1820, to the 5th of January, 1821, there was a decrease of 8,929,629. Nobody, therefore, could be surprised that, at that period, the industry of the country appeared to be in a state of the utmost depression; that our manufacturers were most of them unemployed; that our agriculturists were many of them embarrassed; and that the country, to use the phrase of a friend of his in presenting a petition from the merchants of London, 'exhibited all the appearances of a dying nation.' Though the condition of the agricultural interest was not as favourable as he could wish, still it was most satisfactory for him to state that not only did the exports of last year [1822] exceed those of all the years to which he had been alluding, but also those of the most flourishing year which had occurred during the continuance of the war. In all material articles there had been a considerable increase. The export of cotton had increased ten per cent., and hardware seventeen per cent.; of linens twelve per cent., and of woollens thirteen per cent.; and the aggregate exports of 1822 exceeded those of 1820 by twenty per cent., and of 1821 by seven per cent., notwithstanding a deduction was to be made from the exports of one great article, sugar, owing to a prohibitory decree of Russia, amounting to thirty-five per cent." The result of this prosperous state of things was that, in 1823, the new Chancellor of the Exchequer was enabled to present the best and most popular Budget that had been laid before Parliament for many years, remitting a large amount of taxes that had pressed most heavily on the springs of industry, and inflicted the greatest amount of inconvenience and privation upon the people. The revenue of the nation in that year was 57,000,000, and the expenditure was estimated at 49,672,999, leaving a surplus of upwards of 7,000,000. Of this surplus, 5,000,000 was set aside for the reduction of the National Debt, and the remainder for the remission of taxes. As the assessed taxes were most oppressive, they were reduced fifty per[239] cent., a reduction which was estimated on the window tax alone at 1,205,000. On the whole, the assessed taxes were reduced by 2,200,000. This included 100,000, the total amount of assessed taxes in Ireland. In England the whole of the window tax was removed from the ground floors of shops and warehouses.
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