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FORE:Later, when the sun was well up in the jewel-blue sky, and the world was all ashine, they began the real routine of the day. And it would have been much like that of any of the other days that had gone before it for two years, had not Cairness come in a little before the noon hour, bringing with him a guest. It was an Englishman, whom he presented to Felipa as a friend of his youth, and named Forbes.��I know how that fits,�� Sandy spoke earnestly. ��The hydroplane men were honest, and Jeff worked into their confidence and offered to help them��to discover the plan!��

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FORE:With the same want of sagacity which was driving Ministers and Parliament to the loss of America, they were still persecuting Wilkes into popularity. On the 14th of November, 1768, Sir Joseph Mawby, member for Southwark, presented a petition from Wilkes, reciting all the proceedings of Government against him, and praying for his being heard at the bar of the House. Wilkes appeared before the House on the 31st of January, where he took exception to the word "blasphemous" as applied to the "Essay on Woman." Thurlow, afterwards Lord Chancellor, a most swearing, blaspheming man, protested that if the House did not declare it blasphemous, it would be a disgrace to it. However, the words "impious" and "obscene" were substituted. On the 1st of February the House determined that his petition was frivolous. The next day the House went into another charge against Wilkes. In the preceding April Lord Weymouth, previous to the riots in St. George's Fields, had issued a letter, as Secretary of State, to the magistrates of Lambeth, warning them of the danger of riots taking place in the endeavour to free Wilkes from prison, and offering them the aid of the military. Wilkes, while in the King's Bench, had obtained a copy of this letter, and sent it to the St. James's Chronicle with his own comments, styling it a "hellish project," and as the direct cause of that "horrid massacre." Weymouth complained to the House of Lords that this was a breach of privilege. A conference was had with the Commons; Wilkes was brought to the Bar, where Baldwin, the printer, had acknowledged the letter to be his, and then, so far from denying it, claimed the thanks of the country for having exposed that "bloody scroll." The Commons decided that he was guilty of an insolent and seditious libel, and on the following day, February 3rd, on the motion of Lord Barrington, he was expelled the House, by a majority of two hundred and nineteen to one hundred and thirty-seven. The king had directly asked for such a verdict by a letter to Lord North, declaring that Wilkes's expulsion was "highly expedient and must be effected."

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FORE:In 1710 was established the Academy of Ancient Music, the object of which was to promote the study of vocal and instrumental harmony. Drs. Pepusch, Greene, and other celebrated musicians were amongst its founders. They collected a very valuable musical library, and gave annual concerts till 1793, when more fashionable ones attracted the public, and the society was dissolved. In 1741 was established the Madrigal Society, the founder of which was John Immyns, an attorney. It embraced men of the working classes, and held meetings on Wednesday evenings for the singing of madrigals, glees, catches, etc. Immyns sometimes read them a lecture on a musical subject, and the society gradually grew rich. The composers of such pieces at this period were such men as Purcell, Eccles, Playford, Leveridge, Carey, Haydn, Arne, etc. Public gardens became very much the fashion, and in these, at first, oratorios, choruses, and grand musical pieces were performed, but, by degrees, gave way to songs and catches.[157] Vauxhall, originally called Spring Garden, established before the Revolution, became all through this period the fashionable resort of the aristocracy, and to this was added Ranelagh, near Chelsea College, a vast rotunda, to which crowds used to flock from the upper classes on Monday, Wednesday, and Friday evenings, to hear the music and singing. These performances spread greatly the taste for music, and probably excited the alarm of the puritanically religious, for there arose a loud outcry against using music in churches, as something vain and unhallowed. Amongst the best publications on the science of music during this period were Dr. Holder's "Treatise on the Natural Grounds and Principles of Harmony," 1694; Malcolm's "Treatise on Music, Speculative, Practical, and Historical," 1721; Dr. Pepusch's "Treatise on Harmony," 1731; Dr. Smith's "Harmonics; or, the Philosophy of Musical Sounds;" Avison's "Essay on Musical Expression," 1752. Avison also published twenty-six concertos for a band, which were much admired.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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