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.But a very different spirit displayed itself in America on the arrival of the news of the passing of the Act. Franklin's friend, Thompson, replied to him, that, instead of lighting candles, there would be works of darkness. The rage of the American public burst forth in unequivocal vigour. At New York, the odious Stamp Act was represented surmounted with a death's head instead of the royal arms, and was hawked through the streets with the title of "the folly of England and the ruin of America." At Boston the colours of the shipping were lowered half-mast high, and the bells of the city were muffled and tolled funeral knells. Everywhere there was a frenzied excitement, and the provincial Assemblies resounded with the clamour of indignant patriotism. It was the fortune of that of Virginia to give the leading idea of union and co-operative resistance, which led to the grand conflict, and to eventual victory over the infatuated mother country. There Patrick Henry, a very different man to Franklin, started up, and kindled by his fiery breath the torch of confederate resistance. But it was at once seen that, to acquire their full weight, the colonies must unite. Speeches, pamphlets, articles in newspapers, all called for co-operation. A print was published exhibiting a snake cut into a number of pieces, each piece inscribed with the name of a colony, and with the motto, "Join or die." In consequence, several of the states sent representatives to a general congress, to be held at New York in the month of October, to take measures for a general resistance to the Stamp Act.

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