Groombridge Place, Kent, is another house of infinite charm which has been attributed to Wren. The All Souls Collection of his drawings includes some sketch elevations of houses. One sheet in particular gives two alternative treatments for the same plan, but neither is up to Wren’s best form, and it seems reasonable to assume that the smaller domestic work for private clients had to be ignored in the main because of his heavy public employments. Amongst his works which have disappeared altogether are the Custom House, the Armoury and Mint in the Tower of London (where his Storehouse has survived), Christ’s Hospital, and the College of Physicians in Warwick Lane. Not the least interesting of an architect’s designs are those which are never carried to full fruition. The most notable of these was a great Palace at Winchester, begun for Charles II. Not much of it was built, for the King died before it was finished, and his successors did not like Winchester. The uncompleted core was later adapted so drastically for use as barracks that it ceased to have any Wren significance. The Tomb of Charles I., for which Parliament voted £70,000, was designed by Wren in 1678. The drawings preserved at All Souls show a domed structure, which was to have stood at the east end of St. George’s Chapel, Windsor. Within was to be a statue of the Martyr King standing on a shield upheld by four allegorical figures. Alternative treatments are shown for this group in marble and bronze. Grinling Gibbons would no doubt have been the sculptor, but, as Wren’s title of the drawings notes, it was _eheu conditionem temporum, nondum extructum_. The _nondum_ gives a hint that Wren hoped that it might later be done, but the £70,000 found less worthy employment. Wren’s careful detailed estimates for the work are printed in Sir William St. John Hope’s monumental _Windsor Castle_, with reproductions of the drawings. [Illustration: PLATE XII TRINITY COLLEGE LIBRARY, CAMBRIDGE: RIVER FRONT.] Noble as this design was, I confess I take more pleasure from Wren’s design for a monument (also in All Souls Library) which Sir Reginald Blomfield reproduces[C] with the note that it was probably drawn by Grinling Gibbons. It shows a lady reclining on a couch, not unlike Raggi’s Lady Cheyne in Chelsea Old Church, but she points with a lively gesture to cherubs flying above her in a burst of rays and clouds. It shows Wren in his most baroque mood, and is perhaps his reminiscence of old Bernini’s monumental manner.