The calumnies with which he was assailed during the affair of Quietism were remembered only to the disadvantage of their authors. The public seem eventually to have regarded him as a man who was persecuted because he refused to be a persecutor; who had maintained, at all hazards, what he believed to be the cause of truth and justice; and had resigned his opinion only at that moment when conscience required the sacrifice.
Universal homage was paid by his contemporaries to his talents and genius. In the grasp and power of his intellect, and in the extent and completeness of his knowledge, none probably would have ventured to compare him with Bossuet; but in fertility and brilliancy of imagination, in a ready and dexterous use of his materials, and in that quality which his countrymen call esprit, he was supposed to have no superior. Bossuet himself said of him “Il brille d’esprit, il est tout esprit, il en a bien plus que moi.”
It is obvious that his great work, the Adventures of Telemachus, was, in the first instance, indebted for some portion of its popularity to circumstances which had no connexion with its merits; but we cannot attribute to the same cause the continued hold which it has maintained on the public favour. Those who are ignorant of the interest which attended its first appearance still feel the charm of that beautiful language which is made the vehicle of the purest morality and the most ennobling sentiments. In the many editions through which it passed, between its first publication and the death of the author, Fenelon took no concern. Publicly he neither avowed nor disavowed the work, though he prepared corrections and additions for future editors. All obstacles to its open circulation were removed by the death of Louis; and in the year 1717, the Marquis de Fenelon, his great-nephew, presented to Louis XV. a new and correct edition, superintended by himself, from which the text of all subsequent editions has been taken.
The best authority for the life of Fenelon accessible to the public is the laborious work of his biographer, the Cardinal de Bausset, which is rendered particularly valuable by the great number of original documents which appear at the end of each volume. Its value would be increased if much of the theological discussion were omitted, and the four volumes compressed into three.
WREN
Christopher Wren, the most celebrated of British architects, was born at East Knoyle in Wiltshire, October 20, 1632. His father was Rector of that parish, Dean of Windsor, and Registrar of the Order of the Garter: his uncle, Dr. Matthew Wren, was successively Bishop of Hereford, of Norwich, and of Ely; and was one of the greatest sufferers for the royal cause during the Commonwealth, having been imprisoned nearly twenty years in the Tower without ever having been brought to trial. The political predilections of Wren’s family may be sufficiently understood from these notices; but he himself, although his leaning probably was to the side which had been espoused by his father and his uncle, seems to have taken no active part in state affairs. The period of his long life comprehended a series of the mightiest national convulsions and changes that ever took place in England—the civil war—the overthrow of the monarchy—the domination of Cromwell—the Restoration—the Revolution—the union with Scotland—and, finally, the accession of a new family to the throne; but we do not find that in the high region of philosophy and art in which he moved, he ever allowed himself to be either withdrawn from or interrupted in his course by any of these great events of the outer world.
His health in his early years was extremely delicate. On this account he received the commencement of his education at home under the superintendence of his father and a domestic tutor. He was then sent to Westminster School, over which the celebrated Busby had just come to preside. The only memorial which we possess of Wren’s schoolboy days, is a dedication in Latin verse, addressed by him to his father in his thirteenth year, of an astronomical machine which he had invented, and which seems from his description to have been a sort of apparatus for representing the celestial motions, such as we now call an orrery. His genius is also stated to have displayed itself at this early age in other mechanical contrivances.
Engraved by W. Holl.
SIR CHRISTOPHER WREN.
From the original picture by Sir G. Kneller, in the possession of the Royal Society.
Under the Superintendance of the Society for the Diffusion of Useful Knowledge.
London. Published by Charles Knight, Pall Mall East.