The style of Wren, which, like that of Inigo Jones, was based rather upon the Venetian school, was perpetuated and found individual exponents in the works of his pupils and immediate successors. Among whom may be mentioned James Gibbs (1720 to 1754), architect of St. Martin’s in the Fields (1726) and St. Mary le Strand, and Nicholas Hawksmoor, who was responsible for the churches of St. George’s, Bloomsbury, and St. Mary, Woolnoth, the latter commenced in 1716 was finished in 1718. [Illustration: No. 118. St. Paul’s Cathedral. Wren.] Notable among Wren’s churches is that of St. Stephen’s, Walbrook, in the City of London; of his secular work an example may be cited in the library of Trinity College, Cambridge. _Classic Spires_ A characteristic of the period in the churches of Wren and his school is the spire, which, though tapering like the Gothic variety, is invested with features quite Renaissance in form, arranged in successive tiers. The architecture of the period is in excellent proportion, and all the details of mouldings, capitals, etc., were executed in a masterly manner. Panelling was still employed, mostly in oak, and was now carried up to the ceiling. The panels were very wide, frequently bevelled at the edges--the stiles and rails forming the framings being much wider than hitherto. The framing mouldings were sometimes carved. [Illustration: No. 119. Spire of St. Mary le Strand.] Doorways and chimneypieces were surrounded by well-designed architraves, with carved mouldings, and were surmounted by pediments, above which it was not unusual to have carved festoons and pendants of fruit and foliage. [Illustration: No. 120. English Interior Wood-work. Late 17th and early 18th century.] Pilasters were decorated with cherubs’ heads used as caps, and pendant drops of the usual type. Carving was profusely used, the details consisted mainly of interlacing scrollwork of acanthus-like foliage, heavy fruit and flower festoons and drops, trophies and cherubs’ heads. The relief was high, the work occasionally being detached, and the manner of execution was sharp and crisp, implying no hesitation on the part of the carver. The high relief necessitated building up thicknesses of wood, and formed a great contrast to the earlier work in which the ground was slightly set back, leaving the original panel face as the highest part of the pattern. The woods commonly used were oak for wainscotting and cedar for doors. Where it was intended that the woodwork should be painted or gilt it was made in deal. Some of the carving was in oak, but the favorite material was limewood, and pear; cedar or lime was used when small fine detail was required. Elm was employed for various articles such as dressers: ash, beech, birch, poplar, sycamore, English and Italian walnut were also used. _Dutch and French Influences_