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THREE:There was a sort of understanding in those times that Hyde Park was the peculiar preserve of the aristocracy. Women of notoriously bad reputation would not then have dared to show themselves in Rotten Row, and the middle and lower classes of London did not think of intruding themselves as equestrians upon the pleasure-ground of the nobility. At that time it was every way more retired; the walks were fewer, and cows and deer were seen quietly grazing under clumps of trees. The frequenters of the park, who then congregated daily about five o'clock, were chiefly[442] composed of dandies and ladies in the best society; the former, well-mounted and dressed in a blue coat, with brass buttons, leather breeches and top-boots, with a tremendously deep, stiff, white cravat, and high shirt-collar, which rendered stooping impossible. Many of the ladies used to drive round the park in a carriage, called a vis-��-vis, which held only two persons, having a hammer-cloth rich in heraldic designs, powdered footmen in smart liveries, and a coachman who assumed all the airs and importance of a wigged archbishop.

THREE:SIR JAMES GRAHAM.

THREE:LORD BUTE AND THE LONDONERS. (See p. 175.)The fame of this battle, thus fought without any advantage of ground, and with such a preponderance on the side of the French, produced a deep impression both in Great Britain and France. The major part of the British side was composed of British troops, most of the Portuguese having been sent to Marshal Beresford, and this gave a vivid idea of the relative efficiency of British and French troops. Buonaparte had already satisfied himself that Massena was not the man to cope with Wellington, and Marshal Marmont was on the way to supersede him when this battle was fought, but he could only continue the flight of Massena, and take up his headquarters at Salamanca. With Massena returned to France also Ney, Junot, and Loison; King Joseph had gone there before; and the accounts which these generals were candid enough to give, in conversation, of the state of things in Spain, spread a very gloomy feeling through the circles of Paris.

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."The History of the Decline and Fall of the Roman Empire," by Gibbon, began to appear in 1776, a few months before the death of Hume, and was not completed till 1788. It consisted of six ponderous quarto volumes, and now often occupies double that number of octavos. It is a monument of enormous labour and research, filling the long, waste, dark space between ancient and modern history. It traces the history of Rome from its Imperial splendour; through its severance into East and West; through its decadence under its luxurious and effeminate emperors; through the ravages of the invading hordes of the North, to the period when the nations of Europe began, in the dawn of a new morning, to rise from the depth of barbarism into life, form, and power. The faults of this great work are, that it is written, like Hume's "History of England," in the sceptical spirit of the period; and that it marches on, in one high-sounding, pompous style, with a monotonous step, over every kind of subject. The same space and attention are bestowed on the insignificance of the feeblest emperors, and the least important times, as on the greatest and most eventful. It is a work which all should read, but a large part of it will be waded through rather as a duty than a pleasure. Still, Gibbon holds his own indispensable position; no other man has yet risen to occupy it better.