were acted that are classics today. This applies especially to the new form Restoration comedy, dominated in the 1660s by William Wycherley and the Theatre Royal's house dramatist John Dryden. Actors such as Hart and Charles II's mistress Nell Gwyn developed and refined the famous scenes of repartee, banter and flirtation in Dryden's and Wycherley's comedies. With the appearance of actresses for the first time at Drury Lane and Lincoln's Inn Fields in the 1660s, British playwrights wrote parts for outspoken female characters, daring love scenes and provocative breeches roles. In any case, the competition between the King's Company and the Duke's was good for the rebirth and development of English drama. The Great Plague of London struck in the summer of 1665, and the Theatre Royal, along with all other public entertainment, was shut down by order of the Crown on 5 June. It remained closed for 18 months until the autumn of 1666, during which time it received at least a little interior renovation, including widening of the stage. Located well to the west of the City boundary, the theatre was unaffected by the Great Fire of London, which raged through the City in September 1666, but it burned down six years later on 25 January 1672. Second theatre: Theatre Royal, Drury Lane (1674) During the 20th century, one illustration was repeatedly – and wrongly – published as "Christopher Wren, design for the Theatre Royal Drury Lane, 1674". Since 1964, this presumption has been disputed by scholars. Careful inspection of the drawing at All Souls' College, Oxford Library shows that it has one pencil inscription: "Play house" , which may have been added by a librarian or by anyone else. No sign of a signature (by Wren or anyone else) or a date appears anywhere on the drawing. Robert D. Hume of Penn State University explained that use of the drawing "rests almost entirely on the supposition that the so-called "Wren section" at All Souls represents this theatre. It could just as easily be a discarded sketch unconnected to Drury Lane in any way." Comparative evidence for Drury Lane's 1674 design can be found in the Theatre Royal, Bristol, built in 1766, whose design was modelled, in part, on Drury Lane's. The site measured east-west and north-south. The building was smaller than this, as reliable surveys and maps of the period show three passageways measuring between wide surrounding