theory of dioptrics, and to the manufacture of good glasses and of other forms than spherical; has exactly measured and delineated the spheres of the humours of the eye, whose proportions were only guessed at before; he discovered a natural and easy theory of refraction, showing not only the common properties of glasses but the proportions by which the individual rays cut the axis upon which the proportion of eyeglasses and apertures are demonstrably discovered; has essayed to make a true selenography by measure—the world having had nothing yet but pictures; has stated the moon's libration as far as his observations could carry him … has carefully pursued magnetical experiments. Among the problems of navigation, demonstrated how a force upon an oblique plane would cause the motion of the plane against the first mover. He explained the geometrical mechanics of rowing, and the necessary elements for laying down the geometry of sailing, swimming, rowing, flying, and the fabricks of ships. He invented a very curious and speedy way of etching, and has started several things towards the emendation of waterworks; was the first inventor of drawing pictures by microscopical glasses; amongst other things the keeping the motion of watches equal, in order for longitudes and astronomical uses. He was the first author of the noble anatomical experiment of injecting liquors into the veins of animals, now vulgarly known, but long since exhibited to meetings at Oxford. Hence arose many new experiments, and chiefly that of transfusing blood. … I know very well that some of them he did only start and design, and that they have been since carried to perfection by the industry of others; yet it is reasonable that the original invention should be ascribed to the true author rather than the finishers. Nor do I fear that this will be thought too much which I have said concerning him; for there is a peculiar reverence due to so much excellence covered with so much modesty, and it is not flattery but honesty to give him his just praise who is so far from usurping the fame of other men that he endeavours with all care to conceal his own’ (Sprat, p. 319).
Although, as a natural philosopher, Wren was overshadowed by the genius of Newton, as an English architect he stands above his competitors. In some particulars, indeed, Inigo Jones may have surpassed him; but if a comprehensive view is taken, the first place must be adjudged to Wren. It has been argued that as he had passed the youngest and most receptive part of his life before he turned his attention practically to architecture it must have been unfavourable to his proper development in that profession. That this was so in his case can be conceded only to a very small extent. It is true that the first definite information we receive of his applying himself professionally to architecture is his accepting in his twenty-ninth year (1661) the invitation from Charles II to act practically as surveyor-general to his majesty's works, though nominally as assistant to Sir John Denham (1615–1669) [q. v.] (Parentalia, p. 260 n.; he had previously declined a commission as surveyor of the fortifications of Tangier); but it is clear that for such an appointment to have been offered he must already have given proof of his fitness; moreover, his father would have been quite capable of giving him valuable instruction, for during his residence at East Knoyle the elder Wren had designed a new roof for that parish church (ib. p. 142), and had also been engaged by Charles I to design a building for the queen's use, of which a detailed estimate has been preserved among the state papers (cf. Elmes, p. 9). We have also had occasion to note, in speaking of Wren's scientific capabilities, that he was remarkable for his skill in accurate drawing; so that, in addition to his mathematical knowledge, he was already armed with one essential of his art. In a catalogue given (Parentalia, p. 198) of the subjects on which Wren discoursed at Wadham College, one is ‘new designs tending to strength, convenience, and beauty in building.’ This must have been several years earlier than the appointment referred to. The two earliest original works we hear of are the chapel of Pembroke College, Cambridge, built at the expense of his uncle Matthew, and the Sheldonian Theatre at Oxford. The preparation of the designs for these two buildings must have been nearly contemporaneous. A model of the Sheldonian Theatre was submitted and approved in April 1663, but the first stone was not laid until the year following, whereas that of the Cambridge chapel was laid in the May of the same year, viz. 1663. The chapel was finished in two years, but the Sheldonian Theatre not till 1669. We may therefore take Pembroke College chapel as his first original work, and it need cause no surprise if we find in it some signs of the ‘'prentice hand.’ The interior is very simple, and calls for no particular remark. The exterior, which shows its front to the street, has good general proportions, a never-failing excellence in Wren; but it certainly exhibits a want of familiarity with architectural detail, particularly in the lack of subordination
