ONE: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.

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ONE:Whilst matters were in this discouraging condition, Lord Lexington was sent to Spain to receive the solemn renunciation of the Crown of France for Philip and his successors, in the presence of the Cortes, which accordingly took place on the 5th of November. Portugal, also, on the 7th of November, signed, at Utrecht, the suspension of arms, at the same time admitting to the Allies that she did it only as a matter of absolute necessity. The Portuguese had held out firmly till the English refused to give them any assistance, when the Marquis de Bay invaded the kingdom at the head of twenty thousand men, and laid siege to Campo-Major. The English troops in Spain were ordered to separate from those of the Allies under Count Stahremberg, and were marched into Catalonia to embark at Barcelona. The people of that province beheld the English depart with sentiments of indignant contempt. England had first incited them to take up arms and declare for King Charles under the most solemn engagements never to make peace without them. But now they had broken their faith in the most shameless manner, and left them to the vengeance of the French triumphant in Spain. Such on all sides were the facts which forced on the world the conviction of the perfidy of England, which had hitherto borne so fair a reputation.

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ONE:There was no chewing gum in the craft!

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ONE:

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ONE:Landor pointed to him. "Who is this?" he asked.��We are going to trap the real culprit.��

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