FORE:Murray, afterwards Lord Mansfield, as we have said, of a decided Jacobite house, was a rising young lawyer, who had won great fame for his speech in a case of appeal before the House of Lords, was now Solicitor-Generalaccomplished and learned in the law, a man of pleasing person, and a fine orator, bold, persevering in his profession, yet, with all the caution of a Scotsman, plodding his way towards the benchthe real and almost the only object of his ambition. Murray, indeed, let Newcastle know that such was his ambition; and therefore, as Pitt was passed over from the royal dislike and Newcastle's own jealousy, and Murray, too, for this reason, Henry Fox alone was the man for the leadership of the Commons. Newcastle told him that he proposed him for that post; but when they met, Fox soon found that he was expected to play the r?le without the essential power. Fox, of course, demanded to be informed of the disposal of the secret-service money, but Newcastle replied that his brother never disclosed that to any one, nor would he. Fox reminded him that Pelham was at once First Lord of the Treasury and leader of the Commons, and asked how he was to "talk to members when he did not know who was in pay and who was not?" And next he wished to know who was to have the nomination to places? Newcastle replied, Himself. Who was to recommend the proper objects?Still himself. Who to fill up the ministerial boroughs at the coming elections?Still Newcastle himself. Fox withdrew in disgust, and Newcastle gave the seals of the Secretaryship to a mere toolSir Thomas Robinson, a dull, uncouth man, who had been some years ambassador at Vienna, and had won the favour of the king by his compliance with all his German desires. Robinson, according to Lord Waldegrave, was ignorant even of the language of the House of Commons, and when he attempted to play the orator, threw the members into fits of merriment. Newcastle, says Lord Stanhope, had succeeded in a very difficult attempthe[118] "had found a Secretary of State with abilities inferior to his own."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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