On the wall of the Mausoleum Room at the British Museum is a drawing lettered “Design by Sir C. Wren from Pliny’s description of the Tomb of Mausolus, copied from Wren’s book, the _Parentalia_,” and signed “J. E. Goodchild, 1893.” Goodchild was a pupil of Cockerell, who also made a restoration represented at the British Museum both by a drawing and a model. In the MS. of the _Parentalia_ at the Royal Society is a sheet with a rough sketch-plan, doubtless from Wren’s hand. From it and from Wren’s description, Goodchild presumably made his drawing. The sketch elevation in the heirloom copy gives an infinitely better-proportioned and more reasonable building than Goodchild’s. There is the possibility that the imperfect drawing referred to in the _Parentalia_ is the sketch-plan bound up with the MS., but I feel sure the elevation in the heirloom copy is indicated. Goodchild’s description on the drawing suggests that he had merely copied from the _Parentalia_. It would have been more correct had he said “based on indications in the _Parentalia_.” A word may be added about Wren’s description (printed in the _Parentalia_) of the Artemision at Ephesus. There are bound, in the ordinary copies of the book, engravings of a plan and elevation of the Temple, and also a plan and elevation of Wren’s conjectural restoration of the shrine of the goddess. The odd feature of this restoration is again Wren’s reliance on Pliny’s figures, which would have made what Professor Lethaby calls a temple of “enormous and impossible size.” In order to fit in Pliny’s 127 columns, Wren has to make the fronts decastyle. To absorb the odd number of columns he invents a quite enchanting shrine which has small claim to credibility, and rather recalls the garden temples of the eighteenth century. He again neglects the safer guidance of Vitruvius, who states that the temple was octastyle. His observations on the Temple of Peace built by Vespasian include some charming phrases: “Each Deity had a peculiar Gesture, Face, and Dress hieroglyphically proper to it; as then Stories were but Morals involved: and not only their Altars and Sacrifices were mystical, but the very Forms of their Temples. No Language, no Poetry can so describe Peace, and the Effects of it in Men’s Minds, as the Design of the Temple naturally paints it, without any affectation of the Allegory. It is easy of Access, and open, carries an humble Front, but embraces wide, is luminous and pleasant, and content with an internal Greatness, despises an invidious Appearance of all that Heighth it might otherwise justly boast of, but rather fortifying itself on every Side, rests secure on a Square and ample Basis.” But devotion to the antiquities of Greece did not hinder Wren from digging deeply into the history of Roman Britain, and his conclusions as to the London of the Romans are quoted with respect by the archæologists of to-day.