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THREE: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:[409]

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THREE:Three voices, that of the caretaker no longer grumpy, urged him to explain. Too earnest to be proud of his deductions, Sandy spoke.He had dreaded a scene, but he was not so sure that this was not worse. "You are the wife for a soldier," he said somewhat feebly; "no tears and fuss and��all that kind of thing."

• Righteous indignation
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THREE:Stone held that the affair had been grossly exaggerated, and that the proof thereof lay in the acquittal of all accused of the crime, by a jury of their peers; and Landor said that the sooner that highly discreditable travesty on justice was forgotten, the better for the good fame of the territory. The press representative waxed eloquent once more, until his neck grew violet with suppressed wrath, which sputtered out now and then in profanity. The officer met his finest flights with cold ridicule, and the Agency man improved the opportunity by pouring himself a drink from the flask on the cot. In little it was the reproduction of the whole situation on the frontier��and the politician profited.Felipa did not answer.

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