ONE:The French, exasperated beyond further endurance, on the 22nd of November entered on the question of war in the Assembly in earnest. Koch, of Strasburg, the well-known historian, declared that no time was to be lost; that the German nations were every day violating the frontiers of France, and that the Minister for Foreign Affairs was not to be trusted. Three armies were formed. Rochambeau, who was now ailing, and out of humour, was appointed to that stationed in Flanders, and called the army of the north; Lafayette was put in command of the central division stationed at Metz, and Luckner of the one stationed in Alsace. Narbonne, the new Minister, made a rapid journey, and returning, announced to the Assembly that the different fortresses were fast assuming a creditable condition, and that the army, from Dunkirk to Besan?on, presented a mass of two hundred and forty battalions, one hundred and sixty squadrons, with artillery requisite for two hundred thousand men, and supplies for six months. This report was received with acclamations. So closed the year 1791.Disappointed in their hopes from England, educated Roman Catholic opinion in Ireland began to drift towards the United Irishmen, in spite of the[462] peasants' war that was rife in various parts of the country between the members of the two religions. Suddenly their expectations received an unlooked-for impulse. During the spring of 1794 Pitt determined to send over Lord Fitzwilliam, who was heir to the Marquis of Rockingham and a prominent member of the Portland Whigs, as Lord-Lieutenant. It was clearly understood that Fitzwilliam should be allowed to inaugurate a policy of reform, but Pitt wished that reform to be gradual and cautious. It is plain that he gave Grattan intimation to that effect, and that Grattan thought the stipulation a reasonable one, but it is equally clear that he somehow or other failed to make much impression upon Fitzwilliam. No sooner had the new Lord-Lieutenant arrived in Ireland than he proceeded to dismiss Castle officials before he could possibly have had time to inquire into the rights and wrongs of their cases, and with equal abruptness turned out the Attorney, and Solicitor-General, and Mr. Beresford, the Commissioner of Revenue, the head of the most powerful of the Protestant families. The result was a violent outcry, which was increased when he proceeded, in conjunction with Grattan, to draw up a Bill for the immediate granting of the Catholic claims. The Ascendency party clamoured for his recall, and the Lord Chancellor Fitzgibbon represented to the king that to admit Roman Catholics to Parliament would be to violate his Coronation Oath. Pitt was obliged to give way, and on March 25th, 1794, Fitzwilliam left Ireland, amidst every sign of national mourning. The incident is a melancholy one, but a calm review of the circumstances produces the conclusion that the indiscretion of Lord Fitzwilliam was very much the cause of it.
TWO: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.
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