ll attempt at undue dramatic effect" (Dutton 12).
Christopher Wren's architectural designs were also strongly influenced by the elements of the French Baroque. Wren became familiar with this style during a visit to Paris in 1665. In contrast to the refined style of Classicism, the Baroque was characterized by an emphasis on ornamentation and decoration. It has been noted that "the effect of the Paris journey was to give a French accent to Wren's work throughout his life, and to dilute the current of Palladian influence" (Weaver 51). Many historians have considered Wren's finest works to be in the Baroque style. For example, Sir Lawrence Weaver has called Wren's work on London's St. Paul's Cathedral to be "the apogee of English Baroque" (76). On the other hand, John Summerson has claimed that St. Paul's Cathedral is primarily influenced by the styles of ancient Rome and is therefore "a classical building" (Summerson 133). The disagreement between scholars on Wren's architectural style can perhaps be best explained by acknowledging the influence on Wren of both the Baroque and Palladianism. Wren did not simply copy either of these styles; rather, he incorporated the best elements of both into his own unique approach. Thus, Christopher Wren's architectural style is difficult to pin down because he was simply "too original, too much his own master" (147). Many facts about Wren's life and his work as an architect can be found in a Wren family heirloom known as Parentalia. This book contains memoirs of the Wren family members and an account of the family's history. It was written by Sir Christopher Wren's son, Christopher Wren II, and published by his grandson, Stephen Wren. The work had always been in possession of Sir Christopher Wren's descendants, until "the family ceased in the
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