TWO:But Hastings had scarcely terminated these proceedings, when the new members of Council, appointed under the Regulating Act, arrived. On the 19th of October, 1774, landed the three Councillors, Clavering, Monson, and Francis; Barwell had been some time in India. The presence of the three just arrived was eminently unwelcome to Hastings. He knew that they came with no friendly disposition towards him, and that Philip Francis, in particular, was most hostile. The letter of the Court of Directors recommended unanimity of counsels, but nothing was further from the views of the new members from Europe. As they were three, and Hastings and Barwell only two, they constituted a majority, and from the first moment commenced to undo almost everything that he had done, and carried their object. They denounced, and certainly with justice, the Rohilla war; they demanded that the whole correspondence of Middleton, the agent sent to the court of Oude by Hastings, should be laid before them. Hastings refused to produce much of it, as entirely of a private and personal nature; and they asserted that this was because these letters would not bear the light, and that the whole of Hastings' connection with Sujah Dowlah was the result of mercenary motives. In this they did the Governor-General injustice, for, though he drew money sternly and by every means from the India chiefs and people, it was rather for the Company than for himself. They ordered the recall of Middleton from Oude, deaf to the protests of Hastings that this was stamping his conduct with public odium, and weakening the hands of government in the eyes of the natives. Still, Middleton was recalled, and Mr. Bristow sent in his place. Hastings wrote home in the utmost alarm both to the Directors and to Lord North, prognosticating the greatest confusion and calamity from this state of anarchy; and Sujah Dowlah, regarding the proceedings of the new members of Council as directed against himself, and seeing in astonishment the authority of Hastings apparently at an end, was so greatly terrified that he sickened and died.During this reign architecture was in a state of transition, or, rather, revolution, running through the Palladian, the Roman, the Greek, and into the Gothic, with a rapidity which denoted the unsettled ideas on the subject. At the commencement of the reign James Paine and John Carr were the prevailing architects. Worksop Manor, since pulled down, and Keddlestone, in Derbyshire, were the work of Paine; but Robert Adam, an advocate for a Roman style, completed Keddlestone. Carr built Harewood House, and others of a like character, chiefly remarkable for Grecian porticos attached to buildings of no style whatever. The Woods, of Bath, employed a spurious Grecian style in the Crescent in that city, Queen's Square, the Pounds, etc., which, however, acquired a certain splendour by their extent and tout ensemble. To these succeeded Robert Taylor, the architect of the Bank of England and other public buildings, in a manner half Italian, half Roman. Sir William Chambers, of more purely Italian taste, has left us Somerset House as a noble specimen of his talent. Robert and James Adam erected numerous works in the semi-Roman semi-Italian style, as Caenwood House, at Highgate, Portland Place, and the screen at the Admiralty. In Portland Place Robert Adam set the example of giving the space necessary for a great metropolis. James Wyatt, who succeeded Chambers as Surveyor-General in 1800, destined to leave extensive traces of his art, commenced his career by the erection of the Pantheon, London, in the classical style, and then took up the Gothic style, which had begun to have its admirers, and in which James Essex had already distinguished himself by his restoration of the lantern of Ely Cathedral, and in other works at Cambridge. Wyatt was employed to restore some[200] of the principal colleges at Oxford, and to do the same work for the cathedral of Salisbury and Windsor Castle. In these he showed that he had penetrated to a certain extent into the principles of that order of architecture, but was far from having completely mastered them. A greater failure was his erection of Fonthill Abbey, for Beckford, the author of "Vathek," where he made a medley of half an abbey, half a castle, with a huge central church tower, so little based on the knowledge of the Gothic architects that in a few years the tower fell. Wyatt, however, was a man of enterprising genius. Co-temporary with Wyatt, George Dance made a much less happy attempt in Gothic in the front of Guildhall, London; but he built Newgate and St. Luke's Hospital in a very appropriate style. One of the most elegant erections at this period was the Italian Opera House, by a foreigner, Novosielsky, in 1789. Nor must we omit here the publication of John Gwynn's "London and Westminster Improved," in 1766, by which he led the way to the extensive opening up of narrow streets, and throwing out of fresh bridges, areas, and thoroughfares, which have been since realised, or which are still in progress.
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