Of much the same character, but loftier and more dignified, is Hanbury Hall, near Droitwich, built in 1701 for a certain Thomas Vernon (Fig. 5). The façade is here emphasised by a pediment, which professes to be partly carried on two columns. Ornament goes but a little way towards producing the pleasing effect, which, in fact, is obtained by the windows (including the dormers), the quoins, and the bold eaves cornice. The cupola adds a note of interest; it is a feature which had been used by Inigo Jones, and before him, although designed on other lines, by Jacobean architects. But a greater figure than the men who designed Moyles Court or Hanbury Hall occupied the stage at this time. This was Sir Christopher Wren, the greatest architect that England has produced. His work, however, lay for the most part outside the scope of the present inquiry which is chiefly concerned with domestic architecture. It was largely the city churches, and especially the noble cathedral of St Paul, that occupied and developed Wren’s uncommon powers. Of ordinary domestic work, but little can be put to his credit with certainty. However, at the palace of Hampton Court (Fig. 6), he showed the same strong hand, the same virility of design which appear in his churches. Wren had mastered the medium in which he worked, and he used it with freedom, unfettered by slavish obedience to the rules which kept his less gifted successors in leading strings, and induced them to tread the paths of safety rather than those of adventure. There was, perhaps, one exception to this slavery in the person of Sir John Vanbrugh, who had a singular gift for grandiose design. Kings Weston, near Bristol (Fig. 7), is one of his simpler and more restrained efforts, but even here the scale is large and the detail verging on coarseness. But it is neither the personal note nor the minutiæ of design which concerns us at present. Kings Weston is advanced as illustrating, not so much Vanbrugh’s style, as the complete departure from the old ways which architectural design had by this time taken. The date of Kings Weston is about 1715. It is not only in the external appearance that this departure is noticeable, but also in the plan, and in the internal embellishments. These points will be dealt with fully in due course, but even on looking at the outside of Kings Weston, it is obvious that it is disposed on lines widely different from those of a Jacobean house.