ONE:These things did not pass without remark by the Opposition. Pulteney and Bolingbroke discussed them with much vigour and acrimony in The Craftsman. It was asserted in the House that the public burthens had increased instead of diminished since 1716; but Walpole contended that there had been a reduction of debt to the amount of two million five hundred thousand pounds; and his statement was supported by a large majority, and it was laid before the king. The Opposition then demanded an explanation of the expenditure of two hundred and fifty thousand pounds for secret service money. It was well understood that Walpole had used the greater part of it in buying up that triumphant majority which enabled him to carry the most[59] obnoxious measures. The demands of the Opposition were so vehement, and the abuse was so glaring, that even Walpole was embarrassed how to get rid of the question. He could only recur to the old plea, that the money had been spent on services highly advantageous to the State, but which could not properly be made public. Suddenly events lifted him out of his difficulty. News arrived that the King of Spain, who declined to ratify the preliminaries of peace entered into at Vienna, on hearing of the death of George I., hoping for a revolution, had now given way, and had issued what was called the Act of Pardo, ratifying the preliminaries, and referring all remaining difficulties to be settled at a congress to be held at Soissons.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:Me? Oh Did the man hesitate, Sandy wondered. It seemed to be so before he continued. Im Everdail.
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