THREE:On his return, the contentions regarding pulling down old St. Paul's were rife as ever; but the following year the fire occurred, and Wren was commissioned to make a plan for the rebuilding of the City. He proposed to restore it on a regular plan, with wide streets and piazzas, and for the banks of the river to be kept open on both sides with spacious quays. But these designs were defeated by the ignorance and selfishness of the inhabitants and traders, and the banks of the Thames became once more blocked up with wharves and warehouses, narrow and winding lanes; and Wren could only devote his architectural talent to the churches, the Royal Exchange, and Custom House. These latter buildings were completed in the three following years; they have since both been burnt down and rebuilt. Temple Bar, a hideous erection, was finished in the fourth year, 1670. All this time the commencement of the new St. Paul's was impeded by the attempts of the commissioners to restore the old tumbling fabric, and it was only by successive fallings-in of the ruins that they were compelled to allow Wren to remove the whole decayed mass, and clear the ground for the foundations of his cathedral. These were laid in 1675, nine years after the fire, and the building was only terminated in thirty-five years, the stone on the summit of the lantern being laid by Wren's son, Christopher, 1710. The choir, however, had been opened for divine service in 1697, in the twenty-second year of the erection.
FORE:
THREE:When she was able to be up, Cairness went in to see her. She was sitting on a chair, and looking sulkily out of the window. "You got me jailed all right," she sneered, "ain't you?" and she motioned to the grating of iron.
FORE:After the revolution which destroyed the political power of the old aristocracy, there came a further revolution the effect of which was to diminish largely its social predominance. We learn from the bitter sarcasms of Horace and Juvenal that under the empire wealth took the place of birth, if not, as those satirists pretend, of merit, as a passport to distinction and respect. Merely to possess a certain amount of money procured admission to the equestrian and senatorial orders; while a smaller pecuniary qualification entitled any Roman citizen to rank among the Honestiores as opposed to the Humiliores, the latter only being liable, if found guilty of certain offences, to the more atrocious forms of capital punishment, such as death by the wild beasts or by fire.314 Even a reputation for learning was supposed to be a marketable commodity; and when supreme power was held by a philoso207pher, the vulgar rich could still hope to attract his favourable notice by filling their houses with books.315 We also know from Juvenal, what indeed the analogy of modern times would readily suggest, that large fortunes were often rapidly made, and made by the cultivation of very sordid arts. Thus members of the most ignorant and superstitious classes were constantly rising to positions where they could set the tone of public opinion, or at least help to determine its direction.
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THREE:Painting, like architecture, was at a very low ebb during this period, with one or two brilliant exceptions. Foreign artists were in demand, and there was no native talent, except that of Thornhill and Hogarth, which could claim to be unjustly overlooked in that preference. Sir Peter Lely was still living, but Sir Godfrey Kneller, another foreigner, was already taking his place. Kneller was a German, born at Lübeck, and educated under the best Flemish masters of the day. As he had chosen portrait-painting as his department, he hastened over to England after a visit to Rome and Venice, as the most profitable field for his practice, and being introduced to Charles II. by the Duke of Monmouth, he became at once the fashion. Kneller had talents of the highest order, and, had not his passion for money-making been still greater, he would have taken rank with the great masters; but, having painted a few truly fine pictures, he relied on them to secure his fame, and commenced an actual manufacture of portraits for the accumulation of money. Like Rubens, he sketched out the main figure, and painted the head and face, leaving his pupils to fill in all the rest. He worked with wonderful rapidity, and had figures often prepared beforehand, on which he fitted heads as they were commissioned. Sir John Medina, a Fleming, was the chief manufacturer of ready-made figures and postures for him, the rest filled in the draperies and backgrounds. Kneller had a bold, free, and vigorous hand, painting with wonderful rapidity, and much of the grace of Vandyck, but only a few of his works show what he was capable of. The beauties of the Court of William and Mary, which may be seen side by side with those of the Court of Charles II. by Lely at Hampton Court, are far inferior to Lely's.
FORE:No one spoke.84
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THREE:"Yes," he persisted, refusing to be thwarted, "once when you were crossing the parade at Grant, at retreat, and two days afterward when you shot a blue jay down by the creek."
FORE:[Pg 127]
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