THREE:

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THREE:Then came the Lake school, so called because the poets lived more or less amongst the lakes of Westmoreland and Cumberland; but which would have been more correctly called the natural school, in contradistinction to the artificial school which they superseded. The chief of these were Wordsworth, Coleridge, and Southey. Wordsworth and Coleridge had travelled in Germany, when few Englishmen travelled there, and all of them had more or less imbibed that spirit of intense love of natural beauty and of mental philosophy which prevails in Germany. In Southey this evaporated in ballads of the wild and wonderful, with a strong tinge of Teutonic diablerie. In Wordsworth and Coleridge these elements sank deeper, and brought forth more lasting fruits. But there was another cause which went greatly to the formation of Wordsworth's poetic system. He was thoroughly indoctrinated by his early friends, Charles Lloyd and Thomas Wilkinson, members of the Society of Friends, with their theory of worship and psychology. They taught him that the spirit of God breathes through all nature, and that we have only to listen and receive. This system was enunciated in some of his lyrical poems, but it is the entire foundation of his great work, the "Excursion." In his earliest poems William Wordsworth (b. 1770; d. 1850) wrote according to the manner of the time, and there is nothing remarkable in them; but in his "Lyrical Ballads," the first of which appeared in 1798, there was an entire change. They were of the utmost simplicity of language, and some of them on subjects so homely that they excited the most unmeasured ridicule of the critics. In particular, the Edinburgh Review distinguished itself by its excessive contempt of them. The same fate awaited his successive publications, including his great work, the "Excursion;" and the tide of scorn was only turned by a series of laudatory criticisms by Professor Wilson, in Blackwood's Magazine, after which the same critics became very eulogistic.

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THREE:Sir John Soane, who had been a pupil of Dance, Holland, and Sir William Chambers, introduced a more purely Greek style, and his achievements may be seen in Dulwich Gallery and Trinity Church, Marylebone. The most eminent disciples of this school were William Wilkins and Sir Robert Smirke. Wilkins was a servile copyist, and the National Gallery is the chief monument of his skill, or want of it. Sir Robert Smirke was of a higher order, and his erection of Covent Garden Theatre, the Mint, the Post Office, the College of Physicians, the law courts at Gloucester, Lowther Castle, etc., speak for themselves. Nash, the contemporary and successor of these architects, has left us abundance of his Gr?co-Romano-Italian medleys in the church in Langham Place, Regent's Park, and Buckingham Palace. The great merit of Nash was, that, like the brothers Adam, he gave us space, and showed, as in Regent's Park, what was needed for an immense metropolis. Towards the end[201] of the reign Gothic architecture was more cultivated, and one of Wyatt's last works was Ashridge House, in Buckinghamshire, a vast and stately Gothic pile, imposing in general effect, but far from pure in style. Still less so was Eaton Hall, in Cheshire, built by William Pordon; but the real Anglo-Gothic was now receiving the true development of its principles by the works of James Bentham, Carter, John Britton; and, finally, Thomas Rickman, in 1816, published his "Attempt to Discriminate the Styles of English Architecture," which placed these principles perspicuously before the public.

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THREE:Every engine of the English Court was put in motion to prevent the Electoral Prince from coming. Oxford had an interview with Schutz, in which he repeated that it was his applying for the writ to the Lord Chancellor instead of to the queen that had done all the mischief; that her Majesty, had it not been for this untoward incident, would have invited the Prince to come over and spend the summer in England��forgetting, as Schutz observed, that the minute before he had assured him that the queen was too much afraid of seeing any of that family here. He advised Schutz��who could not be convinced that he had done anything irregular in his application, quoting numerous proofs to show that it was the accustomed mode of applying for writs��to avoid appearing again at Court; but Schutz, not seeming disposed to follow that advice, immediately received a positive order to the same effect from the queen through another channel. Schutz, therefore, lost no time in returning to Hanover to justify himself. At the same time, Lord Strafford was instructed to write from the Hague, blaming the conduct of Schutz in applying for the writ in the manner he did, as disrespectful to the queen; for, though strictly legal for an absent peer to make such application, the etiquette was that he should defer it till he could do it personally. Strafford ridiculed the idea of any movement being afoot in favour of the Pretender, and observed that, as to sending him out of the Duke of Lorraine's territory, it was not practicable, because the French king maintained that he had fulfilled the treaty, Lorraine not being any part of France. On the other hand, there were striking signs that the cause[17] of Hanover was in the ascendant. Men who watched the course of events decided accordingly. Marlborough, who so lately had been making court to the Pretender, now wrote from Antwerp, urging the House of Hanover to send over the prince without delay to England; that the state of the queen's health made prompt action necessary; and that the presence of the prince in London would secure the succession without risk, without expense, and without war, and was the likeliest measure of inducing France to abandon its design of assisting the Pretender.

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