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ONE:At this juncture, while daily desertions thinned Mar's army at Perth, arrived the Pretender. He landed at Peterhead on the 22nd of December. On the 6th of January, 1716, he made his public entry into Dundee, at the head of his cavalcade, the Earl of Mar riding on his right hand, and the Earl Marshal on his left, and about three hundred gentlemen following. His reception was enthusiastic. The people flocked round him to kiss his hands; and to gratify this loyal desire he remained an hour in the market-place. On the 8th he arrived at Scone, and took up his residence in the ancient palace of his ancestors. There he was only two miles from the army, and having established a council, and issued six proclamations, ordering a public thanksgiving for the "miraculous providence" of his safe arrival, for prayers in the church, for the currency of foreign coin, for a meeting of the Convention of Estates, for all fencible men from sixteen to sixty to repair to his standard, and for his coronation on the 23rd of January, he presented himself before the army. But here the scene was changed. Instead of enthusiasm there was disappointment��disappointment on both sides. The soldiers, who expected to see a royal-looking, active-looking man, likely to encourage them and lead them on their career, beheld a tall, thin, pale, and dejected sort of person, who evidently took no great interest in them. That the Pretender should not exhibit much vivacity was no wonder. He had been assured by Mar that his army had swelled to sixteen thousand men; that the whole North was in his favour; and that he had only to appear to carry everything before him. On inquiring into the force, it turned out to be so miserably small, that the only desire was to keep it out of sight. The spirits of the Pretender fell, and though not destitute of ability, as is manifest by his letters, he had by no means that strength of resolution demanded by such an enterprise. TWO:The greater part of the House, as well as the public out of doors, were captivated with the scheme, which promised thus easily to relieve them of the monster debt; but Sir Grey Cooper was the first to disturb these fairy fancies. He declared that the whole was based on a fallacious statement; that it was doubtful whether the actual surplus was as described; but even were it so, that it was but the surplus of a particular year, and that it was like the proprietor of a hop-ground endeavouring to borrow money on the guarantee of its proceeds in a particularly favourable year. Fox, Burke, and Sheridan followed in the same strain. They argued that, supposing the assumed surplus actually to exist, which they doubted, it would immediately vanish in case of war, and a fresh mass of debt be laid on.[315] Sheridan said, the only mode of paying off a million a year would be to make a loan of a million a year, for the Minister reminded him of the person in the comedy who said, "If you won't lend me the money, how can I pay you?" On the 14th of May he moved a string of fourteen resolutions unfavourable to the report of the Committee, which he said contained facts which could not be negatived; but the House did negative them all without a division, and on the 15th of May passed the Bill. In the Lords it met with some proposals from Earl Stanhope, which were to render the violation of the Act equivalent to an act of bankruptcy, but these were negatived, and the Bill was passed there on the 26th. It was not until 1828 that the fallacy on which the Bill rested was finally exposed by Lord Grenville, who, curiously enough, had been chairman of the Committee which recommended its adoption.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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