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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. FORE:Holland rose in exultation on the news of the overthrow of Buonaparte at Leipsic. His dominion over that country had been a bitter thraldom. Its sons had been dragged yearly, by conscription, to his great slaughter-houses called battle-fields in distant regions. Their trade had been crushed by his Continental system; their colonies seized by Great Britain; their mercantile sources thus dried up��in fact, he had squeezed the wealth and the life out of Holland as out of a sponge, and hordes of French officials maintained an insolent dominance all over the country. At news of the Russian disasters, the Dutch had risen to throw off this hateful and ruinous yoke; but the French forces in Holland had then been sufficient to put them down, and to severely punish them for the attempt. But the necessities in Germany had nearly drained Holland of French troops, and they now rose once more joyfully at Amsterdam, on the 15th of November, and at the Hague on the 16th. They received the most prompt assurances of assistance from Great Britain. A man-of-war was immediately put at the service of the Prince of Orange, and after a nineteen years' exile he embarked on the 25th, and entered Amsterdam on the 1st of December as King of Holland, amid the most enthusiastic acclamations. An army of twenty-five thousand men was soon enrolled; the Allies were at hand; the French authorities fled, after laying hands on all the booty they could carry off; and with the exception of the fortress of[73] Bergen-op-Zoom, the country was speedily cleared of them.