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TWO: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.De Crillon, seeing that his bombardment from shore produced little effect, determined to make the attack also from the sea. Amongst the multiplicity of inventions which the offered rewards had produced, the Chevalier D'Arcon, a French engineer, had produced a scheme which excited the most confident expectations. The plan was to construct ten monster floating batteries of such capacity that they should carry the heaviest artillery, and so made and defended that they could be neither sunk nor burnt. Loud was the clangour of hammer and saw, and, as the secret could not be long preserved, equally busy was the garrison within, preparing furnaces, and laying ready huge piles of balls, to be discharged red-hot at these machines as soon as they arrived. To constitute the intended batteries, ten large ships of from six hundred to one thousand four hundred tons burden were cut down, and made bombproof on the top. They were to be prevented from sinking by the enormous thickness of the timber in their bottoms, and their sides, which were to be six or seven feet thick, bolted, and covered with raw hides. They were to be rendered more buoyant by thicknesses of cork, and the interstices were to be filled with wet sand to prevent combustion. There were to be plentiful supplies, by means of pumps, pipes, and cisterns, of water, everywhere, to put out fire, for they seem to have been aware of the burning balls that were being prepared for them.

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