THREE:Not at all dismayed by this unrighteous severity, the Scottish Friends of the People met in convention, in Edinburgh, on the 9th of October. At this Convention delegates appeared, not only from most of the large towns of Scotland, but also from London, Sheffield, and Dublin. Letters were also received from the Societies in England. Mr. William Skirving, a friend of Muir and Palmer, as secretary to the Convention, read these letters, and other papers, demanding annual parliaments and universal suffrage. As the British Parliament was considered, and truly, merely a corrupt clique of the representatives of boroughmongers, they proposed to apply directly to the king, that he might urge those necessary reforms on the Legislature.[428] In Scottish fashion, the Reformers opened and closed their sittings with prayer, presenting a striking contrast to the French Revolutionists. On the 6th of November delegates appeared from the Society of United Irishmen, and Margarot and Gerald from the Society of the Friends of the People in London. Margarot stated that five hundred constables had beset the meeting in London, to prevent delegates from getting away to this Convention, but that the manufacturing towns of England were almost all in favour of Reform; that in Sheffield alone there were fifty thousand; that a general union of the Reformers of the United Kingdom would strike terror into their enemies, and compel them to grant annual parliaments and universal suffrage.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.
