TWO: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.The Earl of Bute became more and more unpopular. The conditions of the peace were greatly disapproved, and the assurance that not only Bute, but the king's mother and the Duke of Bedford, had received French money for carrying the peace, was generally believed. The conduct of Bute in surrounding the king with his creatures, in which he was joined by the Princess of Wales, added much to the public odium. George was always of a domestic and retiring character, and he was now rarely seen, except when he went once or twice a-year to Parliament, or at levees, which were cold, formal, and unfrequent. Though, probably, the main cause of this was the natural disposition of himself and queen, yet Bute and the princess got the credit of it. Then the manner in which Bute paid his visits to the princess tended to confirm the rumours of their guilty intimacy. He used always to go in an evening in a sedan chair belonging to one of the ladies of the princess's household, with the curtains drawn, and taking every other precaution of not being seen. There were numbers of lampoons launched at the favourite and the princess. They were compared to Queen Isabella and Mortimer, and Wilkes actually wrote an ironical dedication of Ben Jonson's play of "The Fall of Mortimer," to Bute.

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