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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.In this situation the English General determined to attempt��what he should have attempted at first��to force the American lines. Accordingly, on the 7th of October, he drew out one thousand five hundred picked men, and formed them less than a mile from the American camp. No sooner were they descried, than they were attacked furiously by Poor's New Hampshire brigade. The attack extended rapidly to the right, where Morgan and his rifle corps stole round through some woods, and opened fire on the flank of the column. Other troops rushed out of the American entrenchments, and endeavoured to force their way between the British and their camp; but Major Ackland and his riflemen withstood them bravely; yet Burgoyne and his one thousand five hundred men were forced to fall back, leaving their cannon behind them. Morgan and his riflemen were now arriving, under cover of the woods, near the flank of the right wing; and Fraser, perceiving them, advanced to dislodge them. In this he succeeded, but was picked off by the American marksmen, as usual safe behind their trees, and fell mortally wounded. Meanwhile Colonel Brooks, at the head of Jackson's regiment of Massachusetts, was more successful. He turned the entrenchments of the German brigade, maintained his ground within the lines, and, to the wonderful relief of the Americans, seized the baggage of the Germans, and an ample supply of ammunition.