THREE:52

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THREE:��I��m amazed at you, though. Jeff says you��ve got good judgment.��It was a little pocket, a natural fortress, high up on a commanding peak. Cairness crept forward flat along the rocks, raised his head cautiously and looked down. There in the sunrise light,��the gorgeous sunrise of the southern mountain peaks where the wind is fresh out of the universe and glitters and quivers with sparks of new life,��there was the encampment of the hostiles. It was a small Eden of green grass and water and trees high up in the Sierra��that strange mountain chain that seems as though it might have been the giant model of the Aztec builders, and that holds the mystery of a[Pg 229] mysterious people locked in its stone and metal breasts, as securely as it does that of the rich, lost mines whose fabled wonders no man can prove to-day.

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THREE:He felt altogether reckless. In just such a mood, he reflected, his grandmother had probably poisoned her first husband. He could almost have poisoned Landor, the big duty-narrowed, conventional, military machine. Why could he not have married some one of his own mental circumspection?��Mrs. Campbell, for instance. He had watched that affair during his enlistment. More the pity it had come to nothing. Landor could have understood Mrs. Campbell. Then he thought of Felipa, as he had seen her first, looking full into the glare of the sunset, and afterward at him, with magnificent impersonality.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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