His plan for his _chef-d'œuvre_, St. Paul's, like his grand plan for the City, with its principal streets ninety feet wide, its second-rate streets sixty, and its third-rate thirty, was rejected. This cathedral was a composition compact and simple, consisting of a single general octagonal mass, surmounted by a dome, and extended on its west side by a portico, and a short nave or vestibule within. The great idea of Wren was to adapt it to Protestant worship, and therefore he produced a design for the interior, the parts of which were beautifully grouped together so as to produce at once regularity and intricacy, yet without those long side aisles and recesses, which the processions and confessionals of Roman Catholic worship require. The whole long period of Wren's erection of this noble pile was one continued battle with the conceit, ignorance, and dogmatism of the commissioners, who made his life a bitter martyrdom; and when we read the admired inscription in St. Paul's, "_Si monumentum requiris, circumspice_," we behold, on obeying its injunction, only what Wren did, not what he suffered in doing it. The style of St. Paul's, and, indeed, of all Wren's churches, is neither Grecian nor Gothic, but Italian, influenced by the fashion which Bernini, the Italian architect of Louis XIV., had introduced into France. It is a class of architecture of which the Grecian is the basis, but which is so freely innovated upon as to leave little general resemblance. In its different parts we have columns and pilasters of every Grecian and, indeed, Roman order, pediments, peristyles, architraves, and friezes, mingled up with windows of all sorts, and all kinds of recesses and projections, the façades and intercolumniations ornamented with festoons, and wreaths, and human masks, and the whole surmounted by a great Eastern dome, and by campaniles partaking of all the compilations of the main buildings. St. Paul's itself is a noble building, notwithstanding the manifest gleanings from the antique and the mediæval, and their combination into a whole which has nothing original but their combination into one superb design. Besides St. Paul's, the rest of Wren's churches are disappointing, and we cannot avoid lamenting that he had lost the sense of the beauty of Gothic architecture, especially when we call to mind the exquisite churches of that style which adorn so many of the Continental cities. Whilst the exteriors of Wren's churches show heavily in their huddled-up situations in London streets, their interiors, in which much more of the Grecian and Roman styles is introduced, are equally heavy, and wanting in that pliant grace which distinguishes the interiors of Gothic cathedrals. Perhaps the noblest work of Wren next to St. Paul's is Greenwich Hospital, which is more purely Grecian, and therefore displays a more graceful and majestic aspect. The Palace of Hampton Court, attached to the fine old Tudor pile of Cardinal Wolsey, is a