That the first Charles does here in triumph ride, See his son reign where he a martyr dy'd; And people pay that rev'rence as they pass, (Which then he wanted) to the sacred brass, Is not th' effect of gratitude alone, To which we owe the statue and the stone. But heav'n this lasting monument has wrought, That mortals may eternally be taught Rebellion, though successful, is but vain, And kings so kill'd rise conquerors again: This truth the royal image does proclaim Loud as the trumpet of surviving Fame. [_HIS FAVOURITE DESIGN._] It was about this period that Wren rebuilt the theatre in Drury Lane, which had fallen a prey to its usual enemy, fire. It was reopened in 1674 with a play whose epilogue was written by Dryden. The 'old theatre in Salisbury Court,' as Horace Walpole calls it, was also built by Wren. During this time Sir Christopher, now formally appointed architect of S. Paul's with a modest salary of 200_l._ a year, had busied himself in designs for the future cathedral. Everyone, whether qualified or not, gave their opinion about the designs. The first, which was 'a fabrick of moderate bulk, but of good proportion, a convenient quire with a vestibule and portico, and a dome conspicuous above the houses,' was planned by Wren at a time when the Cathedral fund was very small, and the chances of increasing it appeared but slender. This design was rejected as deficient in size and grandeur. After this, in order to find out what style of building was really desired, Wren made several sketches 'merely for discourse sake,' and perceiving that the generality had set their hearts upon a large building, he designed one with which he was himself satisfied, considering it 'a design antique and well studied, conformable to the best style of Greek and Roman architecture.' The design was greatly admired by those who understood the matter, and they begged Sir Christopher to let them see it in a model.[139] Wren accordingly made a large one, apparently with his own hands, in wood, with all the intended ornaments properly carved. Its ground plan was that of a Greek cross, the choir was circular, it had a very short nave, and no aisles. Externally there was a handsome portico, one small dome immediately behind it, and over the centre of the cross a larger dome. Within it would have been as beautiful as it was original, with the eight smaller domes, not seen outside, encircling the central dome. The Duke of York on seeing the plan complained much of the absence of side oratories, such as are common in most foreign cathedrals, and insisted upon their being added. Sir Christopher knew that such a change would cramp the building and break the beauty of the design to a degree that went to his heart. He shed tears in attempting to change the Duke's opinion.