ONE:To approach Ferdinand's forces, the French were obliged to pass a narrow ground between a river and a marsh, and were so cramped that they committed the very error which cost them the battle of Blenheim. They placed the cavalry in the centre, and made wings of their infantry. The cavalry made a succession of furious charges on Ferdinand's centre, but this stood compact and immovable, till the French horse, being discouraged, the Allies charged in their turn, and the centre of the army, the cavalry, being thus driven back, the whole line gave way. At this moment Ferdinand sent orders to Lord George Sackville to charge with the cavalry, which had been kept in reserve, and thus complete the destruction of the flying French. But Lord George, who had been constantly quarrelling with Ferdinand, as well as his own second in command, the Marquis of Granby, now did not appear to comprehend a succession of orders, and sat still. But Ferdinand, having lost patience, sent word to the Marquis of Granby to advance, and he promptly obeyed, but it was now too late; the French had got half an hour's start. Thus the English cavalry was deprived of all share in the victory; but the English foot had borne the chief brunt of the attack, being in the centre. Six British regiments, in fact, for a time maintained the whole shock of the French. Sackville was tried by court martial, and dismissed from all his military appointments. The battle of Minden was fought on the 1st of August, 1759.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.
