THREE:Eluding them, he dashed straight down to where Jeffs amphibian, its prop still turning, stood fifty feet from the end of the runway. Tumbling into the cockpit, he threw the throttle wide. Down the few feet the amphibian roared, gathering speed.Cabot was not an unmerciful man, but if he had had his sabre just then, he would have dug and turned it in the useless carcass. He was beside himself with fear; fear of the death which had come to the cow and the calf whose chalk-white skeletons were at his feet, of the flat desert and the low bare hills, miles upon miles away, rising a little above the level, tawny and dry, giving no hope of shelter or streams or shade. He had foreseen it all when the horse had stumbled in a snake hole, had limped and struggled a few yards farther, and then, as he slipped to the ground, had stood quite still, swaying from side to side, with its legs wide apart, until it fell. He gritted his teeth so that the veins[Pg 2] stood out on his temples, and, going closer, jerked at the bridle and kicked at its belly with the toe of his heavy boot, until the glassy eye lighted with keener pain.
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THREE:The philosophical affinities of the new science were not exhausted by the atomistic analysis of Democritus and the regulative method of Aristotle. Platonism could hardly fail to benefit by the great impulse given to mathematical studies in the latter half of the sixteenth century. The passionate love of its founder for geometry must have recommended him as much to the most advanced minds of the period as his religious mysticism had recommended him to the theologians of the earlier Renaissance. And the increasing ascendency of the heliocentric astronomy, with its splendid defiance of sense and opinion, was indirectly a triumph for the philosophy which, more than any other, had asserted the claims of pure reason against both. We see this distinctly in Galileo. In express adhesion to Platonism, he throws his teaching into a conversational form, endeavouring to extract the truth from his opponents rather than convey it into their minds from without; and the theory of reminiscence as the source of demonstrative knowledge seems to meet with his approval.549 He is always ready with proofs drawn from observation and experiment; but nothing can be more in Platos spirit, nothing more unlike Aristotle and Bacon, than his encomium on the sublime genius of Aristarchus and Copernicus for having maintained a rational hypothesis against what seemed to be the evidence of their senses.550 And he elsewhere observes how much less would have been the glory of Copernicus had he known the experimental verification of his theory.551The 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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