FOOTNOTES:

Printed in Great Britain atThe Darien Press,Edinburgh

FOOTNOTES:[1]The publication of “Gothic Architecture, Improved by Rules and Proportions,” by B. and T. Langley, in 1742, does not invalidate this statement, for the illustrations are intended to show how a kind of Gothic detail might be applied to a kind of classic “order.” The “Historical Dissertation on Gothic Architecture,” attached by way of introduction, is absolutely negligible in the light of modern knowledge, and could have helped nobody to a comprehension of the subject.[2]Evelyn’s “Account of Architects and Architecture.”[3]See a communication from Mr. Walter L. Spiers to theJournal of the Royal Institute of British Architects, 10th Dec. 1908, where a short pedigree is given.[4]“As appears by his name over the gate.”[5]It was, however, John Smithson’s son, Huntingdon, who died in 1648. John Smithson died in 1634.[6]“A Relation of a Short Survey of 26 Counties observed in a seven weekes Journey begun on August 11, 1634, by aCaptain, aLieutenant, and anAncient.”[7]“Lives of the British Architects,” by E. Beresford Chancellor.[8]It is true that his spelling, especially that of the notes in his sketch-book, is eccentric, even for those days.[9]“Cal. State Papers, Domestic,” Sept. 2, 1611.[10]John Webb, in his “Vindication of Stone-Heng Restored” (1725), p. 119, says he resided “many years” in Italy, especially at Venice. This refers to his first visit. He was back in England before Twelfth Night, 1605, as he designed the “Masque of Blackness,” which was produced on that day. (See Peter Cunningham’s “Life of Inigo Jones.”)[11]Peter Cunningham’s “Life of Inigo Jones,” p. 6.[12]“Cal. State Papers, Domestic,” April 27, 1613.[13]“A Vindication of Stone-Heng Restored,” p. 27. All this work was destroyed in the great fire. The loss of the portico was considered a national misfortune.[14]“A Vindication,” p. 36. This work has been much altered.[15]Destroyed.[16]“A Vindication,” p. 119.[17]Kennet, in Wood’s “Ath. Ox.,” by Bliss, iii. 806; quoted in Peter Cunningham’s “Inigo Jones.”[18]In the year 1620, King James I., being at Wilton on one of his progresses, sent for Inigo Jones, and instructed him to produce out of his own practice in architecture and experience in antiquities abroad, what he could discover about Stonehenge. The “few undigested notes” which Jones made were amplified by John Webb and published by him as “Stone-Heng Restored” in 1655. They went to show that Stonehenge was a Roman temple. A Dr. Charleton attacked this conclusion in a pamphlet called “Chorea Gigantum,” whereupon Webb retaliated in his “Vindication of Stone-Heng Restored.” From the antiquarian point of view the controversy is of no value, but it is interesting because of the references to Inigo Jones.[19]Webb’s “Vindication,” p. 11. It would seem that Vandyke is here quoted as using the phrase “designing with his pen,” and not (as biographers have freely supposed) as having given Jones a certificate of ability.[20]In the collection at the Royal Institute of British Architects.[21]See Appendix II.[22]Seep. 69.[23]“London Past and Present,” by Wheatley and Cunningham.[24]Peter Cunningham’s “Life,” where it is stated that the register of St Bennet’s records his burial on the 26th June.[25]Peter Cunningham’s “Inigo Jones,” p. 39.[26]John Aubrey’s “Brief Lives,” ed. by Andrew Clark. Oxford, 1898, vol. ii. 10.[27]One of this series is illustrated in Fig. 39.[28]Those who desire to pursue the subject more fully are referred to two papers by the author—“The Burlington-Devonshire Drawings,” in theJournal of the Royal Institute of British Architects, Third Series, vol. xviii., No. 10, and “The Original Drawings for the Palace at Whitehall, attributed to Inigo Jones,”Architectural Review, June 1912.[29]“State Papers, Domestic: Charles II.,” vol. v., Nos. 74, 74,i.[30]It is the version published by Kent which is here dealt with, as being the best known.[31]In an article by Mr. W. Grant Keith, published in theBurlington Magazineof January 1913, are given some reproductions of half a dozen drawings by Inigo Jones, which are among the most carefully finished specimens of his handiwork that survive. They include a ceiling for Wilton, 1649, and some decorative work at Oatlands Palace in Surrey.[32]Mostly preserved at Chatsworth; there are also a few at the British Museum.[33]It has not been found possible to illustrate this scene, as was intended, owing to the war having rendered the drawings at Chatsworth inaccessible for the time being.[34]“Cal. State Papers, Domestic,” xcv. 12.[35]Horace Walpole’s “Anecdotes of Painting.”[36]See the article on the Burlington-Devonshire Drawings in theJournal of the Royal Institute of British Architects, Third Series, vol. xviii., No. 10.[37]Vol. vi. p. 129, printed in full in Peter Cunningham’s “Life of Inigo Jones,” p. 48.[38]“The Designs for the First Movable Scenery on the English Public Stage,” by William Grant Keith, inThe Burlington Magazine, Nos. cxxxiii. and cxxxiv., April and May 1914, where reproductions of Webb’s drawings are given.[39]“Thorpe Hall,” by A. W. Hakewill, 1852.[40]Neal, in his “Seats,” says it was designed by Webb; and although he quotes no authority he must have had some reason for the statement.[41]Willis and Clarke’s “Architectural History of the University of Cambridge,” ii. 366.[42]“The Old Colleges of Oxford,” by Aymer Vallance, p. 62.[43]Illustrated in “Early Renaissance Architecture in England,” by the present author (Batsford).[44]“Ashburnham House and the Precincts of Westminster Abbey,” by Harry Sirr,Journal of the R.I.B.A., 8th January 1910.[45]“Windsor Castle,” by Sir W. H. St John Hope, p. 329.[46]It was perhaps Pierre le Muet whose work most influenced Wren.[47]“Lives of the British Architects,” by E. Beresford Chancellor, p. 79.[48]Walpole’s “Anecdotes of Painting.”[49]Collins’s “Peerage.”[50]This conjecture is strengthened by a reference of Evelyn’s, who notes that in going from Reading to Marlborough in June 1654 he saw “my Lord Craven’s house at Causam now in ruines, his goodly woods felling by the rebels.”[51]“Vit. Brit.,” i. 43, 44.[52]The curious volume of original drawings by Wynne, which is preserved at the Bodleian Library, and from which the illustrations 109, 110, and 112 are reproduced, also contains drawings for work at Combe Abbey; it would appear, therefore, that Wynne was the architect employed both there and at Hamstead Marshall.[53]Wheatley and Cunningham’s “London, Past and Present.”[54]“Vit. Brit,” i. 44.[55]“Journey through England” (1722), by J. Mackay, quoted in “London, Past and Present.”[56]Bridges’ “History of Northamptonshire,” vol. i. p. 328.[57]The curious can compare the appearance of the old house with what Gibbs put in its place by referring to the plates in Bridges’ “History of Northamptonshire”; whether the newer design was an improvement, either in appearance or convenience, is open to question.[58]But see Appendix I., p. 395.[59]See “The Great House, Leyton,” by Edwin Gunn, published by the Committee for the Survey of the Memorials of Greater London, 1903.[60]Collins’s “Peerage,” 1741 ed., i. 334.[61]An excellent annotated catalogue of the pictures has been prepared by Mr. C. H. Scott and privately printed. The Boughton estates passed to the Dukes of Buccleuch (Montagu-Douglas-Scott) by marriage with an heiress of the Montagus.[62]It was begun in 1687 and finished in 1706.[63]Bridges’ “History of Northamptonshire,” i. 289, repeated by Baker in his history of the same county, ii. 144.[64]Baker,ut supra.[65]Mr. R. Blomfield’s “History of Renaissance Architecture in England,” p. 224.[66]“Court and Society from Elizabeth to Anne,” edited from the papers at Kimbolton, by the Duke of Manchester, London, 1864, p. 56.[67]“Court and Society from Elizabeth to Anne,” 1864, p. 227.[68]Letter to George Montagu, 7th July 1770; also to H. S. Conway, 12th July 1770.[69]“Vitruvius Britannicus,” ii., pl. 81, 82.[70]The first series, in three volumes, is here referred to.[71]“Vitruvius Britannicus,” iii, pl. 27–34.[72]Collins’s “Peerage.”[73]Walpole, “Anecdotes.”[74]“Treatise on Architecture.”[75]Ferguson’s “History of Architecture,” Book IV., 1873 ed., p. 328.[76]“Memoirs of a Royal Chaplain,” by Albert Hartsborne, pp. 318–320.[77]See an article on Holkham by M. Jourdain, “Interiors of English Mansions,” in theArt Journalof July 1911, and Lenygon’s “Decoration in England” and “Furniture in England” (1660–1790), 2 vols. (Batsford).[78]Mr. Percy Fitzgerald, M.A., F.S.A., in his “Robert Adam.”[79]A Latinised version of the Greek word for “Brothers.”[80]“London Past and Present.”[81]From a description by Cole, quoted in Willis and Clark’s “Architectural History of the University of Cambridge.”[82]London in the eighteenth century was even darker than it has been since the lighting has been minimised as a protection against air-raids.[83]See two articles on Huntingdon Shaw by R. Garraway Rice, F.S.A., in theArchæological Journal, June 1895, and theHome Counties Magazine, January 1902, vol. iv., No. 13.[84]See “English Ironwork of the XVIIth and XVIIIth Centuries,” by J. Starkie Gardner. (Batsford.)[85]This work is attributed by Mr. Starkie Gardner to a skilful smith named Robert Davies.[86]See “Tapestry Weaving in England,” by W. G. Thomson. (Batsford.)[87]“Guide to an Exhibition of Tapestries, Carpets, and Furniture, lent by the Earl of Dalkeith to the Victoria and Albert Museum,” by A. F. K., 1914.

FOOTNOTES:

[1]The publication of “Gothic Architecture, Improved by Rules and Proportions,” by B. and T. Langley, in 1742, does not invalidate this statement, for the illustrations are intended to show how a kind of Gothic detail might be applied to a kind of classic “order.” The “Historical Dissertation on Gothic Architecture,” attached by way of introduction, is absolutely negligible in the light of modern knowledge, and could have helped nobody to a comprehension of the subject.

[2]Evelyn’s “Account of Architects and Architecture.”

[3]See a communication from Mr. Walter L. Spiers to theJournal of the Royal Institute of British Architects, 10th Dec. 1908, where a short pedigree is given.

[4]“As appears by his name over the gate.”

[5]It was, however, John Smithson’s son, Huntingdon, who died in 1648. John Smithson died in 1634.

[6]“A Relation of a Short Survey of 26 Counties observed in a seven weekes Journey begun on August 11, 1634, by aCaptain, aLieutenant, and anAncient.”

[7]“Lives of the British Architects,” by E. Beresford Chancellor.

[8]It is true that his spelling, especially that of the notes in his sketch-book, is eccentric, even for those days.

[9]“Cal. State Papers, Domestic,” Sept. 2, 1611.

[10]John Webb, in his “Vindication of Stone-Heng Restored” (1725), p. 119, says he resided “many years” in Italy, especially at Venice. This refers to his first visit. He was back in England before Twelfth Night, 1605, as he designed the “Masque of Blackness,” which was produced on that day. (See Peter Cunningham’s “Life of Inigo Jones.”)

[11]Peter Cunningham’s “Life of Inigo Jones,” p. 6.

[12]“Cal. State Papers, Domestic,” April 27, 1613.

[13]“A Vindication of Stone-Heng Restored,” p. 27. All this work was destroyed in the great fire. The loss of the portico was considered a national misfortune.

[14]“A Vindication,” p. 36. This work has been much altered.

[15]Destroyed.

[16]“A Vindication,” p. 119.

[17]Kennet, in Wood’s “Ath. Ox.,” by Bliss, iii. 806; quoted in Peter Cunningham’s “Inigo Jones.”

[18]In the year 1620, King James I., being at Wilton on one of his progresses, sent for Inigo Jones, and instructed him to produce out of his own practice in architecture and experience in antiquities abroad, what he could discover about Stonehenge. The “few undigested notes” which Jones made were amplified by John Webb and published by him as “Stone-Heng Restored” in 1655. They went to show that Stonehenge was a Roman temple. A Dr. Charleton attacked this conclusion in a pamphlet called “Chorea Gigantum,” whereupon Webb retaliated in his “Vindication of Stone-Heng Restored.” From the antiquarian point of view the controversy is of no value, but it is interesting because of the references to Inigo Jones.

[19]Webb’s “Vindication,” p. 11. It would seem that Vandyke is here quoted as using the phrase “designing with his pen,” and not (as biographers have freely supposed) as having given Jones a certificate of ability.

[20]In the collection at the Royal Institute of British Architects.

[21]See Appendix II.

[22]Seep. 69.

[23]“London Past and Present,” by Wheatley and Cunningham.

[24]Peter Cunningham’s “Life,” where it is stated that the register of St Bennet’s records his burial on the 26th June.

[25]Peter Cunningham’s “Inigo Jones,” p. 39.

[26]John Aubrey’s “Brief Lives,” ed. by Andrew Clark. Oxford, 1898, vol. ii. 10.

[27]One of this series is illustrated in Fig. 39.

[28]Those who desire to pursue the subject more fully are referred to two papers by the author—“The Burlington-Devonshire Drawings,” in theJournal of the Royal Institute of British Architects, Third Series, vol. xviii., No. 10, and “The Original Drawings for the Palace at Whitehall, attributed to Inigo Jones,”Architectural Review, June 1912.

[29]“State Papers, Domestic: Charles II.,” vol. v., Nos. 74, 74,i.

[30]It is the version published by Kent which is here dealt with, as being the best known.

[31]In an article by Mr. W. Grant Keith, published in theBurlington Magazineof January 1913, are given some reproductions of half a dozen drawings by Inigo Jones, which are among the most carefully finished specimens of his handiwork that survive. They include a ceiling for Wilton, 1649, and some decorative work at Oatlands Palace in Surrey.

[32]Mostly preserved at Chatsworth; there are also a few at the British Museum.

[33]It has not been found possible to illustrate this scene, as was intended, owing to the war having rendered the drawings at Chatsworth inaccessible for the time being.

[34]“Cal. State Papers, Domestic,” xcv. 12.

[35]Horace Walpole’s “Anecdotes of Painting.”

[36]See the article on the Burlington-Devonshire Drawings in theJournal of the Royal Institute of British Architects, Third Series, vol. xviii., No. 10.

[37]Vol. vi. p. 129, printed in full in Peter Cunningham’s “Life of Inigo Jones,” p. 48.

[38]“The Designs for the First Movable Scenery on the English Public Stage,” by William Grant Keith, inThe Burlington Magazine, Nos. cxxxiii. and cxxxiv., April and May 1914, where reproductions of Webb’s drawings are given.

[39]“Thorpe Hall,” by A. W. Hakewill, 1852.

[40]Neal, in his “Seats,” says it was designed by Webb; and although he quotes no authority he must have had some reason for the statement.

[41]Willis and Clarke’s “Architectural History of the University of Cambridge,” ii. 366.

[42]“The Old Colleges of Oxford,” by Aymer Vallance, p. 62.

[43]Illustrated in “Early Renaissance Architecture in England,” by the present author (Batsford).

[44]“Ashburnham House and the Precincts of Westminster Abbey,” by Harry Sirr,Journal of the R.I.B.A., 8th January 1910.

[45]“Windsor Castle,” by Sir W. H. St John Hope, p. 329.

[46]It was perhaps Pierre le Muet whose work most influenced Wren.

[47]“Lives of the British Architects,” by E. Beresford Chancellor, p. 79.

[48]Walpole’s “Anecdotes of Painting.”

[49]Collins’s “Peerage.”

[50]This conjecture is strengthened by a reference of Evelyn’s, who notes that in going from Reading to Marlborough in June 1654 he saw “my Lord Craven’s house at Causam now in ruines, his goodly woods felling by the rebels.”

[51]“Vit. Brit.,” i. 43, 44.

[52]The curious volume of original drawings by Wynne, which is preserved at the Bodleian Library, and from which the illustrations 109, 110, and 112 are reproduced, also contains drawings for work at Combe Abbey; it would appear, therefore, that Wynne was the architect employed both there and at Hamstead Marshall.

[53]Wheatley and Cunningham’s “London, Past and Present.”

[54]“Vit. Brit,” i. 44.

[55]“Journey through England” (1722), by J. Mackay, quoted in “London, Past and Present.”

[56]Bridges’ “History of Northamptonshire,” vol. i. p. 328.

[57]The curious can compare the appearance of the old house with what Gibbs put in its place by referring to the plates in Bridges’ “History of Northamptonshire”; whether the newer design was an improvement, either in appearance or convenience, is open to question.

[58]But see Appendix I., p. 395.

[59]See “The Great House, Leyton,” by Edwin Gunn, published by the Committee for the Survey of the Memorials of Greater London, 1903.

[60]Collins’s “Peerage,” 1741 ed., i. 334.

[61]An excellent annotated catalogue of the pictures has been prepared by Mr. C. H. Scott and privately printed. The Boughton estates passed to the Dukes of Buccleuch (Montagu-Douglas-Scott) by marriage with an heiress of the Montagus.

[62]It was begun in 1687 and finished in 1706.

[63]Bridges’ “History of Northamptonshire,” i. 289, repeated by Baker in his history of the same county, ii. 144.

[64]Baker,ut supra.

[65]Mr. R. Blomfield’s “History of Renaissance Architecture in England,” p. 224.

[66]“Court and Society from Elizabeth to Anne,” edited from the papers at Kimbolton, by the Duke of Manchester, London, 1864, p. 56.

[67]“Court and Society from Elizabeth to Anne,” 1864, p. 227.

[68]Letter to George Montagu, 7th July 1770; also to H. S. Conway, 12th July 1770.

[69]“Vitruvius Britannicus,” ii., pl. 81, 82.

[70]The first series, in three volumes, is here referred to.

[71]“Vitruvius Britannicus,” iii, pl. 27–34.

[72]Collins’s “Peerage.”

[73]Walpole, “Anecdotes.”

[74]“Treatise on Architecture.”

[75]Ferguson’s “History of Architecture,” Book IV., 1873 ed., p. 328.

[76]“Memoirs of a Royal Chaplain,” by Albert Hartsborne, pp. 318–320.

[77]See an article on Holkham by M. Jourdain, “Interiors of English Mansions,” in theArt Journalof July 1911, and Lenygon’s “Decoration in England” and “Furniture in England” (1660–1790), 2 vols. (Batsford).

[78]Mr. Percy Fitzgerald, M.A., F.S.A., in his “Robert Adam.”

[79]A Latinised version of the Greek word for “Brothers.”

[80]“London Past and Present.”

[81]From a description by Cole, quoted in Willis and Clark’s “Architectural History of the University of Cambridge.”

[82]London in the eighteenth century was even darker than it has been since the lighting has been minimised as a protection against air-raids.

[83]See two articles on Huntingdon Shaw by R. Garraway Rice, F.S.A., in theArchæological Journal, June 1895, and theHome Counties Magazine, January 1902, vol. iv., No. 13.

[84]See “English Ironwork of the XVIIth and XVIIIth Centuries,” by J. Starkie Gardner. (Batsford.)

[85]This work is attributed by Mr. Starkie Gardner to a skilful smith named Robert Davies.

[86]See “Tapestry Weaving in England,” by W. G. Thomson. (Batsford.)

[87]“Guide to an Exhibition of Tapestries, Carpets, and Furniture, lent by the Earl of Dalkeith to the Victoria and Albert Museum,” by A. F. K., 1914.

Transcriber’s Note:1. Obvious printers’, punctuation and spelling errors have been corrected silently.2. Where appropriate, original spelling has been retained.3. Some hyphenated and non-hyphenated versions of the same words have been retained as in the original.

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