At this period, both the grand old styles of architecture, the Gothic for ecclesiastical buildings, and the Tudor and Elizabethan for palaces and mansions, had, for a time, run their course. A classical or Italian fashion had come in, and the picturesque churches and halls of our ancestors were deemed barbarous. Inigo Jones had introduced the semi-classical style, and now Sir Christopher Wren and Vanbrugh arose to render it predominant. Wren had the most extraordinary opportunity for distinguishing himself. The fire of London had swept away a capital, and to him was assigned the task of restoring it. Wren (_b._ 1632; _d._ 1723) was descended from a clerical family. In 1651 he was appointed to the chair of astronomy at Gresham College; three years afterwards to that of the Savilian professor at Oxford. In 1661 he was appointed by Charles II. to assist Sir John Denham, the surveyor-general, and in 1663 he was commissioned to examine the old cathedral of St. Paul, with a view to its restoration in keeping with the Corinthian colonnade which Inigo Jones had, with a strange blindness to unity, tagged on to a Gothic church. The old church was found to be so thoroughly dilapidated, that Wren recommended its entire removal and the erection of another. This created a terrible outcry amongst the clergy and citizens, who regarded the old fabric as a model of beauty. Whilst these contentions were going on, Wren had entered fairly on his profession of architect. He built the Sheldonian Theatre at Oxford, begun in 1663, and completed in 1669; and the fine library of Trinity College, Cambridge, and the beautiful square, Neville's Court, to the same college. He also built the chapels of Pembroke and Emmanuel Colleges, in the same university. In the erection of these, he suffered, from the conceit and conflicting opinions of parties concerned, a foretaste of the squabbles and contradictions which rendered the whole period of the building of St. Paul's miserable. In 1665 he found leisure to visit Paris, and study the magnificent palaces and churches with which Louis XIV. was embellishing his capital. There he got a glimpse of the design for the Louvre, which Bernini, the architect, showed him, but only for a moment; and he was in communication with Mansard, Le Vau, and Le Pautre.