The next great architect of this period is Sir John Vanbrugh, who, when in the zenith of his fame as a dramatic writer, suddenly started forth as an architect, and had the honour of erecting Castle Howard, the seat of the Earl of Carlisle; Blenheim House, built for the Duke of Marlborough, in reward of his victories; Duncomb Hall, Yorkshire; King's Weston, in Gloucestershire; Oulton Hall, Cheshire; Grimsthorpe, in Lincolnshire; Eastbury, in Dorsetshire, now destroyed; and Seaton Delaval, in Northumberland, since partly destroyed by fire. Besides these, he built the opera house, also destroyed by fire. In all these there is a strong similarity, and as a general effect, a certain magnificence; but, when examined in detail, they too frequently resolve themselves into a row of individual designs merely arranged side by side. This is very much the case with the long façade of Blenheim. There is a barbaric splendour, but it has no pervading unity, and only differs from the Italian manner of Wren by a much bolder and profuser use of the Grecian columns and pilasters. In fact, the architecture of the whole of this period is of a hybrid character, the classical more or less modified and innovated to adapt it to modern purposes and the austerity of a northern climate.

Amongst the most distinguished of this series of architects is James Gibbs, who, after studying in Italy, returned to England in time to secure the erection of some of the fifty churches ordered to be built in the metropolis and its vicinity in the tenth year of Queen Anne. The first which he built is his finest—St. Martin's, at the north-east corner of Trafalgar Square. Besides St. Martin's, Gibbs was the architect of St. Mary's, in the Strand; of Marylebone Chapel; of the body of All Saints', Derby—an incongruous addition to a fine old Gothic tower; of the Radcliffe Library, at Oxford; of the west side of the quadrangle of King's College, and of the Senate House, Cambridge, left incomplete. In these latter works Sir James Burrows, the designer of the beautiful chapel of Clare Hall, in the same university, was also concerned. Gibbs was, moreover, the architect of St. Bartholomew's Hospital.

Nicholas Hawksmoor, a pupil of Wren's, and an assistant of Vanbrugh's in building Castle Howard and Blenheim House, was the architect of St. George's-in-the-East, Ratcliff Highway, begun in 1715; of St. Mary Woolnoth, Lombard Street; of St. George's, Bloomsbury; St. Anne's, Limehouse; of Easton Norton House, in Northamptonshire; and of some other works, including a mausoleum at Castle Howard, and repairs of the west front of Westminster Abbey. St. George's, Bloomsbury, is perhaps his finest structure. It has a Corinthian portico, like St. Martin's, and the steeple is surmounted by a statue of George II.

During this period, St. John the Evangelist, Westminster, was built by Thomas Archer. The churches of Greenwich, of St. George's, Hanover Square, and St. Luke's, Middlesex, were designed by John James. To this time likewise belong St. Giles's-in-the-Fields; St. Olave's, Southwark, and Woburn Abbey, by Flitcroft; Chatsworth House and Thoresby, by Salmon; Montagu House, by the French architect, Pouget; All Saints' Church, and the Peckwater Quadrangle of Christ Church, Oxford, by Dean Aldrich; and the library of Christ Church, designed by Dr. George Clarke, M.P. for Oxford, in the reign of Anne. After these the Earl of Burlington, a worshipper of Palladio and Inigo Jones, became a very fashionable architect, and built the dormitory at Westminster School; Petersham House, and other noblemen's mansions. The fine colonnade in the courtyard of Burlington House is also his work. Burlington was essentially a copyist, as was his protégé Kent, who built Holkham, in Norfolk, and the Horse Guards, but acquired as much reputation by his landscape gardening as he gained little by his architecture. Towards the end of this period several foreign artists were employed in England. We have already named Pouget; Giacomo Leoni was much employed; and Labelye, a Swiss, built Westminster Bridge, which was completed in 1747. Thomas Ripley, originally a carpenter, built the Admiralty.

Painting, like architecture, was at a very low ebb during this period, with one or two brilliant exceptions. Foreign artists were in demand, and there was no native talent, except that of Thornhill and Hogarth, which could claim to be unjustly overlooked in that preference. Sir Peter Lely was still living, but Sir Godfrey Kneller, another foreigner, was already taking his place. Kneller was a German, born at Lübeck, and educated under the best Flemish masters of the day. As he had chosen portrait-painting as his department, he hastened over to England after a visit to Rome and Venice, as the most profitable field for his practice, and being introduced to Charles II. by the Duke of Monmouth, he became at once the fashion. Kneller had talents of the highest order, and, had not his passion for money-making been still greater, he would have taken rank with the great masters; but, having painted a few truly fine pictures, he relied on them to secure his fame, and commenced an actual manufacture of portraits for the accumulation of money. Like Rubens, he sketched out the main figure, and painted the head and face, leaving his pupils to fill in all the rest. He worked with wonderful rapidity, and had figures often prepared beforehand, on which he fitted heads as they were commissioned. Sir John Medina, a Fleming, was the chief manufacturer of ready-made figures and postures for him, the rest filled in the draperies and backgrounds. Kneller had a bold, free, and vigorous hand, painting with wonderful rapidity, and much of the grace of Vandyck, but only a few of his works show what he was capable of. The beauties of the Court of William and Mary, which may be seen side by side with those of the Court of Charles II. by Lely at Hampton Court, are far inferior to Lely's.

During this time foreign painters of various degrees of merit flourished in England. Amongst these were John Baptist Vanloo, brother of the celebrated Carl Vanloo, a careful artist; Joseph Vanaken, a native of Antwerp, who did for Hudson what his countrymen did for Kneller—furnished draperies and attitudes. He worked for many others, so that Hogarth painted his funeral as followed by all the painters of the day in despair. The celebrated battle-painter, Peter Vander Meulen, Hemskerk, Godfrey Schalcken, famous for his candle-light effects, John Van Wyck, a famous painter of horses, James Bogdani, a Hungarian flower, bird, and fruit painter, Balthazar Denner, famous for his wonderfully finished heads, especially of old people, and Theodore Netscher, the son of Gaspar Netscher, all painted in England in the earlier part of the eighteenth century. Boit—a painter of French parentage—Liotard, and Zincke, were noted enamel painters. Peter Tillemans, who painted English landscapes, seats, busts, roses, etc., died in 1734; and the celebrated Canaletti came to England in 1746, and stayed about two years, but was not very successful, the English style of architecture, and, still more, the want of the transparent atmosphere of Italy, being unfavourable to his peculiar talent.

ST. PAUL'S CATHEDRAL, LONDON, AND LUDGATE HILL, AS IT WAS.

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