THREE:Marlborough landed at Dover on the day of the queen's death, where he was received with the warmest acclamations and tokens of the highest popularity. He was met on his approach to London by a procession of two hundred gentlemen, headed by Sir Charles Coxe, member for Southwark. As he drew nearer this procession was joined by a long train of carriages. It was like a triumph; and Bothmar, the Hanoverian Minister, wrote home that it was as if he had gained another battle at H?chst?dt (Blenheim) that he would be of great service in case the Pretender should make any attempt, but that he was displeased that he was not in the regency, or that any man except the king should be higher in the country than he. He went straight to the House of Lords to take the oaths to the king; but at Temple Bar his carriage broke down, to the great delight of the people, because it compelled him to come out and enter another, by which they got a good view of him. Having taken the oaths, he retired into the country till the arrival of the king, disgusted at his not being in the regency.
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THREE:[See larger version]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.
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THREE:��We know,�� Dick broke in. ��Don��t you remember that Miss Serena recognized the maid��Mimi��by her uniform?��Not so Sandy!
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THREE:
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