Wren prepared several designs and models for this great edifice. The composition of his favorite plan was compact and simple, forming a general octagonal mass, surmounted by a cupola, and extended on its west side by a portico, and a short nave or vestibule within. The plan adopted, exhibits an almost opposite mode of treatment, both as to arrangement and proportions. While the first exhibits concentration and uniform spaciousness, the other is more extended as to length, but contracted in other respects, and the diagonal vistas that would have been obtained in the other case, are altogether lost in this. The first stone of the present edifice was laid June 21, 1675; the choir was opened for divine service in December, 1697; and the whole was completed in thirty-five years, the last stone on the summit of the lantern being laid by the architect’s son Christopher, in 1710. Taken altogether, St. Paul’s Cathedral is a truly glorious work, and its cupola is matchless in beauty. There are few churches of the past or present day that can vie with it in richness of design; and St. Peter’s, with its single order and attic, appearing of much smaller dimensions than it really is, cannot be put in comparison with it. For a description of this edifice, see Spooner’s Dictionary of Painters, Engravers, Sculptors, and Architects. WREN’S DEATH. This illustrious artist died in 1723, and was buried in the vault of St. Paul’s Cathedral, the most enduring monument of his genius, under the south aisle of the choir. Inscribed upon his tomb are four words “that comprehend,” says Walpole, “his merit and his fame,” sublimely and eloquently expressed: “Si monumentum quæris, circumspice”--“If thou inquirest for a monument, look around thee!” WREN AND CHARLES II. Wren’s small stature, and his intimacy with Charles II., are humorously shown in an anecdote preserved by Seward. The king, on walking through his newly erected palace at Newmarket, said, “These rooms are too low.” Wren went up to the king and replied, “An please your majesty, I think them high enough.” Whereupon Charles, stooping down to Sir Christopher’s stature, answered with a smile, “On second thoughts, I think so too.” THOMAS BANKS, THE ENGLISH SCULPTOR.