without a due proportion of prominent structures characterized by
architectural grandeur, beauty, or curiosity. In a few years magnificent
lines and masses of building were begun and completed; but they were
mainly the growth of wealth, vanity, speculation, and peace. Where his
influence was directly felt it proved unfortunate. He lavished millions
in creating vicious models, and fantastic styles of architecture, and
brought into fashion artists without capacity or taste. There was not in
his kingdom a more discerning judge of painting; but he had no
imagination for the higher class of art. He preferred the exquisite and
humorous realities of the Dutch painters to the poetic or historic
schools of Italy; and, though a studious collector, he gave no great
impulse to native talent. In music he had both taste and skill: he
encouraged an art which formed one of his enjoyments; and if his
patronage has brought forth no composer of the first order, the cause
may exist in some circumstances of national inaptitude.

"It is necessary to go back some centuries for an English king to whom
he bears the nearest likeness in _ensemble_ of character. The parallel
at first sight may be thought injurious, but the likeness will upon
consideration be found striking and complete. George IV. had in his
youth the eclat of personal endowment, education, and accomplishment,--
of success in the fashionable exercises and graces of his age,--and of
that reckless prodigality which obtains popular homage and applause in a
prince. Henry VIII. in his youth was one of the most brilliant
personages of Europe. A fine person,--the accomplishments of his time in
literature and the arts,--the display of gorgeous prodigality,--raised
him to a sort of chivalrous rivalry with Francis I. In mental culture he
excelled George IV., who owes much of his reputation for capacity and
acquirement to an imposing manner, and the eagerness to applaud a
prince: stripped of this charm, his ideas and language appeared worse