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THREE:The National Assembly commenced its sittings on the 4th of May in a temporary wooden structure erected for the purpose. One of its first acts was to pass a resolution��that the Provisional Government had deserved well of the country. But the revolutionary passions out of doors were far from being appeased. Secret societies and clubs were actively at work, and on the 11th of May a placard appeared, citing a proclamation of the Provisional Government dated the 25th of February, in which it unwisely undertook "to guarantee labour for all the citizens," and proceeding thus:��"The promises made on the barricades not having been fulfilled, and the National Assembly having refused, in its sitting on the 10th of May, to constitute a Ministry of Labour, the delegates of the Luxembourg decline to assist at the f��te called 'de la Concorde.'" On the 15th of May the Chamber was invaded by a body of men, carrying banners in their hands, and shouting for Poland. The President put on his hat, and the Assembly broke up. After a short time he returned. The National Guard appeared in force, and quickly cleared the hall. After these measures were taken to suppress the counter-revolution, the Assembly resumed its labours. A proclamation was issued, stating that the National Guard, the Garde Mobile, all the forces in Paris and the neighbourhood, had driven before them the insane conspirators, who concealed their plots against liberty under the pretence of zeal for Poland.During this reign architecture was in a state of transition, or, rather, revolution, running through the Palladian, the Roman, the Greek, and into the Gothic, with a rapidity which denoted the unsettled ideas on the subject. At the commencement of the reign James Paine and John Carr were the prevailing architects. Worksop Manor, since pulled down, and Keddlestone, in Derbyshire, were the work of Paine; but Robert Adam, an advocate for a Roman style, completed Keddlestone. Carr built Harewood House, and others of a like character, chiefly remarkable for Grecian porticos attached to buildings of no style whatever. The Woods, of Bath, employed a spurious Grecian style in the Crescent in that city, Queen's Square, the Pounds, etc., which, however, acquired a certain splendour by their extent and tout ensemble. To these succeeded Robert Taylor, the architect of the Bank of England and other public buildings, in a manner half Italian, half Roman. Sir William Chambers, of more purely Italian taste, has left us Somerset House as a noble specimen of his talent. Robert and James Adam erected numerous works in the semi-Roman semi-Italian style, as Caenwood House, at Highgate, Portland Place, and the screen at the Admiralty. In Portland Place Robert Adam set the example of giving the space necessary for a great metropolis. James Wyatt, who succeeded Chambers as Surveyor-General in 1800, destined to leave extensive traces of his art, commenced his career by the erection of the Pantheon, London, in the classical style, and then took up the Gothic style, which had begun to have its admirers, and in which James Essex had already distinguished himself by his restoration of the lantern of Ely Cathedral, and in other works at Cambridge. Wyatt was employed to restore some[200] of the principal colleges at Oxford, and to do the same work for the cathedral of Salisbury and Windsor Castle. In these he showed that he had penetrated to a certain extent into the principles of that order of architecture, but was far from having completely mastered them. A greater failure was his erection of Fonthill Abbey, for Beckford, the author of "Vathek," where he made a medley of half an abbey, half a castle, with a huge central church tower, so little based on the knowledge of the Gothic architects that in a few years the tower fell. Wyatt, however, was a man of enterprising genius. Co-temporary with Wyatt, George Dance made a much less happy attempt in Gothic in the front of Guildhall, London; but he built Newgate and St. Luke's Hospital in a very appropriate style. One of the most elegant erections at this period was the Italian Opera House, by a foreigner, Novosielsky, in 1789. Nor must we omit here the publication of John Gwynn's "London and Westminster Improved," in 1766, by which he led the way to the extensive opening up of narrow streets, and throwing out of fresh bridges, areas, and thoroughfares, which have been since realised, or which are still in progress.