FORE:In the world of thought no less than in the world of action, the boundless license which characterised the last days of Roman republicanism was followed by a period of tranquillity and restraint. Augustus endeavoured to associate his system of imperialism with a revival of religious authority. By his orders a great number of ruinous temples were restored, and the old ceremonies were celebrated once more with all their former pomp. His efforts in this direction were ably seconded by the greatest poet and the greatest historian of the age. Both Virgil and Livy were animated by a warm religious feeling, associated, at least in the case of the latter, with a credulity which knew no bounds. With both, religion took an antiquarian form. They were convinced that Rome had grown great through faith in the gods, that she had a divine mandate to conquer the world, and that this supernatural mission might be most clearly perceived in the circumstances of her first origin.307 It is also characteristic that both should have been provincials, educated in the traditions of a201 reverent conservatism, and sympathising chiefly with those elements in the constitution of Rome which brought her nearest to primitive Italian habits and ideas. Now it was not merely the policy, it was the inevitable consequence of imperialism to favour the provinces308 at the expense of the capital, by depriving the urban population and the senatorial aristocracy of the political preponderance which they had formerly enjoyed. Here, as in most other instances, what we call a reaction did not mean a change in the opinions or sentiments of any particular persons or classes, but the advent of a new class whose ways of thinking now determined the general tone of the public mind.

FORE: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.

FORE:X.