AND THE CLASSICAL TRADITION
Inigo Jones worked as hard on the creation of his architectural persona as he did on the design of the buildings for the early Stuart court. Through his study of continental architectural and art theory, humanist education, and courtly behavior, Jones redefined the intellectual status of architecture in England and forged a new role for the architect in public life. Since the time of his death, he has been variously described as the first educated architect, the first classicist, the first Renaissance architect in Britain, and the savior of British building from the long winter of the Elizabethan style. This reputation has overlooked the many ways that Jones drew on English customs in order to shape classical architecture for a domestic audience. This book explores the creation of Jones as a professional architect and the development of classical architecture in England through a study of his reading, writing, and architectural practice in the context of English Renaissance culture.
Christy Anderson is Associate Professor of Fine Art at the University of Toronto. Editor of The Built Surface: Architecture and Pictures from Antiquity to the Enlightenment and author of European Renaissance Architecture (forthcoming), she has contributed to the Journal of the Society of Architectural Historians, the Oxford Art Journal, Burlington Magazine, and Annali di architettura.
AND THE CLASSICAL TRADITION
CHRISTY ANDERSON
University of Toronto
CAMBRIDGE UNIVERSITY PRESS
Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo
Cambridge University Press
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Information on this title: www.cambridge.org/9780521820271
© Christy Anderson 2007
This publication is in copyright. Subject to statutory exception
and to the provisions of relevant collective licensing agreements,
no reproduction of any part may take place without
the written permission of Cambridge University Press.
First published 2007
Printed in the United States of America
A catalog record for this publication is available from the British Library.
Library of Congress Cataloging in Publication Data
Anderson, Christy.
Inigo Jones and the classical tradition/Christy Anderson.
p. cm.
Includes bibliographical references and index.
ISBN-13: 978-0-521-82027-1 (hardback)
ISBN-10: 0-521-82027-8 (hardback)
1. Jones, Inigo, 1573–1652 – Criticism and interpretation.
2. Jones, Inigo, 1573–1652 – Books and reading. 3. Jones,
Inigo, 1573–1652 – Library. 4. Classicism in architecture –
England. 1. Title.
NA997.J7 A53 2006
720.92 B 22–pcc 2006040562
ISBN-13 978-0-521-82027-1 hardback
ISBN-10 0-521-82027-8 hardback
Cambridge University Press has no responsibility for
the persistence or accuracy of URLs for external or
third-party Internet Web sites referred to in this publication
and does not guarantee that any content on such
Web sites is, or will remain, accurate or appropriate.
For Kevin and , now, Innis
| List of Illustrations | page IX | |
| Acknowledgments | XV | |
| ONE: INTRODUCTION: BOOKS AND BUILDINGS | 1 | |
| TWO: FAMOUS MR JONES | 21 | |
| THREE: BUILDING A LIBRARY | 49 | |
| FOUR: CONVERSATIONS WITH THE DEAD | 88 | |
| FIVE: THE HAND OF INIGO JONES | 114 | |
| SIX: A MORE MASCULINE ORDER | 130 | |
| SEVEN: PRACTICES | 165 | |
| CONCLUSION: INVENTING THE PAST FOR THE PRESENT | 213 | |
| Appendix: Inigo Jones’s Library | 223 | |
| Notes | 227 | |
| Bibliography | 255 | |
| Index | 271 | |
| 1 | Fritz Saxl and Rudolf Wittkower, British Art and the Mediterranean (London, 1948). | page 3 |
| 2 | Hatfield House, Hertfordshire, portico added in 1610. | 5 |
| 3 | Robert Smythson, Screen for Worksop Manor. | 10 |
| 4 | Thomas Tresham, Triangular Lodge, Rushton, Northamptonshire, England, 1598. | 11 |
| 5 | John Dee, Groundplat of the “Mathematical Preface” in The Elements of Geometrie of the Most Auncient Philosopher Euclide of Megara (London, 1570). | 14 |
| 6 | Title page to the second book on perspective, Sebastiano Serlio, The First [-Fift] Booke of Architecture (London, 1611). | 16 |
| 7 | Alphabet, Sebastiano Serlio, The First [-Fift] Booke of Architecture (London, 1611). | 17 |
| 8 | Francesco Villamena, Inigo Jones, 1613–14, engraving. | 22 |
| 9 | Title page. Vincenzo Scamozzi, L’idea dell’ architettura universale (Venice, 1615), Inigo Jones’s copy. | 22 |
| 10 | Anthony Van Dyck, Inigo Jones, c. 1640, black chalk. | 23 |
| 11 | Inigo Jones, Self-portrait with studies of two heads, c. 1630–40. | 24 |
| 12 | John Aubrey, Inigo Jones’s tomb, St. Benet’s Paul’s Wharf, c. 1666. Ms. Aubrey 8, fol. 19r. | 25 |
| 13 | Inigo Jones, Elevation for a new termination to the tower of St. Paul’s Cathedral (London, 1608). | 31 |
| 14 | Title page, Salomon de Caus, La perspective avec la raison des ombres et miroirs (London, 1612). | 33 |
| 15 | Inigo Jones, Oberon’s Palace for the masque Oberon, The Fairy Prince, 1611. | 33 |
| 16 | Peter Paul Rubens, Thomas Howard, Earl of Arundel,1629. | 36 |
| 17 | Inigo Jones, Elevation for the Prince’s Lodging at Newmarket Palace, Cambridgeshire, 1618–19. | 42 |
| 18 | Banqueting House, Whitehall Palace, Westminster, 1619–22. | 43 |
| 19 | Inigo Jones, Queen’s House, Greenwich, 1616–35. | 43 |
| 20 | Inigo Jones, Queen’s Chapel, St. James’s Palace, 1623–27. | 44 |
| 21 | Inigo Jones, Elevation for a chimney-piece in the Queen’s House, Greenwich, 1637. | 46 |
| 22 | Inigo Jones, Elevation and half plan for the Choir screen at Winchester Cathedral, 1637–38. | 46 |
| 23 | Portrait of John Mylne (1611–67). | 53 |
| 24 | Inigo Jones, Study of heads and list of personal items. | 56 |
| 25 | Albrecht Dürer, St. Jerome in his Study, 1514. | 57 |
| 26 | Traveling library of Sir Thomas Egerton, Lord Ellesmere, c. 1615. | 58 |
| 27 | Title page, Marcus Vitruvio Pollio, I dieci libri dell’architettura, Daniele Barbaro edition (Venice, 1567), Inigo Jones’s copy. | 64 |
| 28 | Front flyleaf with notes by Vincenzo Scamozzi, Strabo, La prima parte della geographia (Venice, 1562), Inigo Jones’s copy. | 66 |
| 29 | Title page with signature of Inigo Jones, Andrea Palladio, I quattro libri dell’architettura (Venice, 1601). | 69 |
| 30 | The ancient techniques of stucco and painting, Giovan Antonio Rusconi, Della architettura (Venice, 1590), Inigo Jones’s copy. | 72 |
| 31 | Title page with Inigo Jones’s signature and date of purchase, Torellus Sarayna, De origine et amplitudine civitatis vernoae (Verona, 1540), Inigo Jones’s copy. | 76 |
| 32 | Buonaiuto Lorini, Le fortificationi (Venice, 1609), Inigo Jones’s copy. | 78 |
| 33 | Isaac Oliver, Henry Frederick, Prince of Wales, c. 1610–12. | 80 |
| 34 | John Smythson, Bolsover Castle, Derbyshire, 1612–21. | 81 |
| 35 | Inigo Jones, Design for a temporary arch ornamented with putti and allegorical figures of music and war. | 82 |
| 36 | Title page, Thomas Digges, A Geometrical practical treatise named Pantometria, divided into three Bookes, Longimetra, Planimetra, and Stereometria, Containing rules manifolde for mensuration of all Lines, Superficies and Solides (London, 1591). | 85 |
| 37 | Frontispiece, Aaron Rathborne, The Surveyor in Foure Bookes (London, 1616). | 86 |
| 38 | Inigo Jones’s notes and corrections to the plan of the Palazzo Thiene, Andrea Palladio, I quattro libri dell’architettura (Venice, 1601). | 89 |
| 39 | Inigo Jones’s notes and drawings on the Palazzo Thiene, Andrea Palladio, I quattro libri dell’architettura (Venice, 1601). | 90 |
| 40 | Inigo Jones’s notes on the tomb along the Via Appia, Rome, in Andrea Palladio, I quattro libri dell’architettura (Venice, 1601). | 92 |
| 41 | Inigo Jones’s annotations on antiquities in Book Ⅳ of Andrea Palladio, I quattro libri dell’architettura (Venice, 1601). | 94 |
| 42 | Inigo Jones’s annotations on the Corinthian order in Book Ⅰ of Andrea Palladio, I quattro libri dell’architettura (Venice, 1601). | 99 |
| 43 | A reading wheel in Agostino Ramelli, Le diverse et artificiose machine (Parigi, 1588). | 112 |
| 44 | Inigo Jones’s annotations on a front flyleaf of Andrea Palladio, I quattro libri dell’architettura (Venice, 1601). | 115 |
| 45 | Inigo Jones, Elevation for the entrance to unidentified house, 1619. | 117 |
| 46 | Vincenzo Scamozzi, Project for a monument to Benedetta Pisani Dolfin for the church of San Salvatore, Venice, 1596. | 118 |
| 47 | George Waymouth, The Jewell of Artes, 1603. | 119 |
| 48 | John Brinsley, Ludus Literarius: Or, The Grammar Schoole (London, 1612). | 121 |
| 49 | Inigo Jones, Elevation for a New Exchange, 1608, pen and brown ink. | 124 |
| 50 | Robert Smythson, Plan of the garden and elevations of the “Italian” Gate and window at Arundel House, Strand, London, 1619. | 126 |
| 51 | Inigo Jones, Elevation for the “Italian” Gate at Arundel House, Strand, London, 1618, pen and brown ink. | 126 |
| 52 | Andrea Palladio, Loggia del Capitaniato, Vicenza, 1571. | 131 |
| 53 | Hans Blum, The Booke of Five Collumnes of Architecture, Called Tuscan, Ionica, Corinthia & Composita (London, 1601). | 132 |
| 54 | Rathaus, Bremen (Germany), 1595–1612 (detail). The design of the town hall was based on designs by Hans Vredeman de Vries, Hendrik Goltzius, Jacob Floris, and others. | 135 |
| 55 | Sebastiano Serlio, Regole generali di architettura sopra le cinque maniere degli edifici (Venice, 1537). | 138 |
| 56 | Gate of Honour, Gonville and Caius College, Cambridge, 1573–75. | 138 |
| 57 | Title page, Sir Walter Raleigh, The History of the World (London, 1614). | 140 |
| 58 | Title page, Henry Isaacson, Saturni Ephimerides (London, 1633). | 141 |
| 59 | Inigo Jones, The Most Notable Antiquity of Great Britain, Vulgarly called Stone-Heng, On Salisbury Plain, Restored (London, 1655). | 147 |
| 60 | Inigo Jones, The Most Notable Antiquity of Great Britain, Vulgarly called Stone-Heng, On Salisbury Plain, Restored (London, 1655). | 147 |
| 61 | Inigo Jones, Sketches of eyes from the Roman Sketchbook. | 151 |
| 62 | Ionic Order, John Shute, The First and Chiefe Groundes of Architecture (London, 1563). | 154 |
| 63 | Inigo Jones, Elevation of the penultimate design for the Banqueting House, Whitehall (London, 1619). | 158 |
| 64 | Inigo Jones, Elevation for the catafalque of James Ⅰ in Westminster Abbey (London, 1625). | 159 |
| 65 | Inigo Jones, Perspective of alternative dome for the catafalque of James Ⅰ in Westminster Abbey (London, 1625). | 160 |
| 66 | Catafalque of Edward Stanley, 3rd Earl of Derby, d. 1572. | 161 |
| 67 | Robert Smythson, Barlborough Hall (Derbyshire, 1583). | 162 |
| 68 | British School, Portrait of William Style of Langley, 1636, oil on canvas. | 163 |
| 69 | Banqueting Houses, Montacute, c. 1590. | 167 |
| 70 | Inigo Jones’s note on the Palazzo Barbarano in his copy of Andrea Palladio, I quattro libri dell’architettura (Venice, 1601). | 172 |
| 71 | Inigo Jones, Elevation and plan of the first design for the Banqueting House, Whitehall (London, 1619). | 173 |
| 72 | Andrea Palladio, Elevation for the Palazzo Chiericati, Vicenza, c. 1550. | 173 |
| 73 | Robert Smythson, Plan of the second Banqueting House, Whitehall Palace, 1609. | 175 |
| 74 | Paul van Somer, James Ⅰ in front of the Banqueting House, Whitehall, 1620. | 177 |
| 75 | Inigo Jones, The Banqueting House in Whitehall for the masque Time Vindicated to Himself and to His Honours (1623). | 179 |
| 76 | Edward Rooker (c. 1712–74) after Samuel Wale (1721–86), A Gate Belonging to the Old Palace of Whitehall. | 181 |
| 77 | Wenceslaus Hollar, Banqueting House and the Holbein Gate, Whitehall, drawing. | 181 |
| 78 | Banqueting House, Whitehall, London, from Colen Campbell, Vitruvius Britannicus, 1715. | 182 |
| 79 | Wenceslaus Hollar, Ecclesiae Cathedralis St. Pauli Ab Occidente Prospectus from William Dugdale, The History of St Paul’s Cathedral in London (London, 1658). | 183 |
| 80 | Inigo Jones, Project for the West front of St. Paul’s (London, 1633–34). | 184 |
| 81 | San Ambrogio, Genoa, Peter Paul Rubens, Palazzi di Genova (Antwerp, 1622). | 185 |
| 82 | Inigo Jones, Temple Bar, 1636, pen and brown ink. | 186 |
| 83 | Andrea Palladio, Elevation for San Petronio, Bologna, c. 1579. | 187 |
| 84 | Temple of Antoninus and Faustina, Rome. | 188 |
| 85 | Inigo Jones’s annotations on the Temple of Peace, Andrea Palladio, I quattro libri dell’architettura (Venice, 1601). | 189 |
| 86 | Guillaume du Choul, Discours de la religion des anciens romains (Lyons, 1556). | 191 |
| 87 | Wenceslaus Hollar, Ecclesiae Cathedralis St. Pauli Orientali Facies, from William Dugdale, The History of St Paul’s Cathedral in London (London, 1658). | 194 |
| 88 | Christopher Wren, St. Lawrence Jewry, London, 1671–77. | 195 |
| 89 | The West Front of St. Paul’s, in William Kent, The Designs of Inigo Jones (London, 1727). | 197 |
| 90 | Inigo Jones, “View of a city far off ” from the masque Britannia Triumphans by Sir William Davenant, January 17, 1638. | 199 |
| 91 | Inigo Jones, “A Great City: In the Sky the Clouds with Deities,” from the masque Salmacida Spolia by Sir William Davenant, January 21, 1640. | 199 |
| 92 | Wenceslaus Hollar, Covent Garden, London, etching, 1647. | 200 |
| 93 | Wenceslaus Hollar, Winter from the Four Seasons, etching, 1644. | 201 |
| 94 | Wenceslaus Hollar, Arundel House, courtyard, etching, 1646. | 203 |
| 95 | Wenceslaus Hollar, Plan of the West end of London, etching, c. 1658. | 205 |
| 96 | Inigo Jones, Elevation for a Tuscan gateway for Hatton House (London, 1622–23). | 207 |
| 97 | Tuscan order, Andrea Palladio, I quattro libri dell’architettura (Venice, 1601). | 209 |
| 98 | Inigo Jones’s annotations to the Tuscan order of Vincenzo Scamozzi, L’idea dell’architettura universale (Venice, 1615). | 209 |
| 99 | George Knapton, Richard Boyle, Third Earl of Burlington, 1743, oil on canvas. | 215 |
| 100 | William Kent, View of Chiswick from the Inigo Jones statue side, c. 1730, pen and brown wash over pencil. | 216 |
| 101 | Frontispiece, William Kent, The Designs of Inigo Jones, Consisting of Plans and Elevations for Publick and Private Buildings (London, 1727). | 217 |
| 102 | Design for a Palace, William Kent, The Designs of Inigo Jones, Consisting of Plans and Elevations for Publick and Private Buildings (London, 1727). | 218 |
My fascination with the architecture of Inigo Jones extends so far back in my own educational life that I wonder if there was ever a time when I was not thinking about English architectural classicism. That interest would be unremarkable for someone with ties to that world through the lens of modern English culture. For me, however, Jones’s orb was as exotic as the world of Italian culture must have been for him.
The project began life as a dissertation at the Massachusetts Institute of Technology under the guidance of Howard Burns, Alice Friedman, David Friedman, and Henry Millon. All contributed in unique and profound ways not only to this work but also to the more general shape of my interests overall.
When I was just beginning work in England, I had the good fortune to discuss my ideas with John Newman while I was a Kress Scholar at the Courtauld Institute. His generosity in sharing with me his own research on Jones’s annotations was invaluable and made this book possible. To begin any study of Jones and English architecture is daunting, given the work that has gone before by John Harris, Edward Chaney, Malcolm Airs, Sir Howard Colvin, John Peacock, Jeremy Wood, and the late Sir John Summerson, all of whom kindly discussed my research and encouraged further work on this material. Although our approaches, and certainly results, differ in many ways, I hope they share with me an optimistic view that a plurality of voices attests to the richness of the Jones archive.
My interests have been nurtured and supported by more friends and colleagues than I can mention. The very best part of the time was that it was not spent alone. To Hilary Ballon, Charles Robertson, Malcolm Smuts, Pat Rubin, William Sherman, Frances Henderson, Paula Henderson, Lucy Gent, Craig Harbison, Gèraldine Johnson, Maurice Howard, Alexander Nagel, Elizabeth Janus, Jim Peebles, and Daniel Abramson, I owe debts both social and intellectual. Deborah Howard read the work in its early, middle, and late stages and always had words of support and insight. My fellow members of Temple Fishponds, Georgia Clarke, Louise Durning, and Clare Tilbury, offered advice over miles of back roads and in innumerable churchyards over the years. Ellen Chirelstein continues to share her enthusiasm for all things Albion, and in good measure. Two dear friends and colleagues never had the chance to see their scholarship into print, and I wish they were here to continue our conversations: Scott Opler and Wendy Wegener.
I am grateful to the many students who have contributed ideas and helped with all the work of collecting and compiling. In particular, my thanks are due to Henry Gordon Masters, Katherine Sims, Eleanor Sokolow, Kimberley Skelton, and Tessie Popoff. In Toronto, Alexis Cohen pulled together all of the details to bring the project to a close.
Dr. Julia Demmin has never failed to suggest the better word, simpler sentence, or stronger phrasing that turned the free flow of random thoughts into passable prose. David Karmon offered help over the years, including assistance with translations and counsel on the classical sources.
I believe that, for Jones, books offered valuable information but were also a source of great pleasure. So, too, for me. I had the good fortune to study Jones’s books, and related materials, in the most glorious and stimulating of surroundings: the British Library, Bodleian Library (Oxford), Warburg Institute, Henry E. Huntington Library, Chatsworth House, Boston Public Library, Houghton Library (Harvard University), Beinecke Library (Yale University), Yale Center for British Art, and Cambridge University Library. Most of my time, however, was spent with the treasure of Jones material at Worcester College, Oxford. There, with the invaluable help of the librarian Lesley Le Claire, and her successor, Dr. Joanna Parker, I was able to work freely with their exceptional collections.
In Oxford, Worcester College became my base of operations through the generosity of its Fellows and Provost. Although I left its gardens and ancient architecture for Yale University and now the University of Toronto, my time there as Research Fellow was unique in providing ample quiet and jolly company in equal measure. Among many others, I am grateful to the Provost, Richard Smethurst, and Fellows Susan Gillingham, Jeremy Horder, Alan Ware, James Campbell, and John Stevenson.
The Kress Foundation generously supported three years in England, two spent at the Courtauld Institute. I am grateful to the Andrew W. Mellon Foundation for a month’s support at the Huntington Library. Yale University provided a year’s leave with a Morse Junior Faculty Fellowship. A Frederick W. Hilles Grant from Yale assisted with the publication costs. I am grateful to Beatrice Rehl at Cambridge University Press for her sustained interest in this book and for her unflagging support over the years.
No one is happier to see a long project end than the accidental tourists who have been along for the ride. Kevin Gallagher has been my photographer, travel companion, computer consultant, research assistant, and most enthusiastic reader from the beginning. Our son, Innis Odin Gallagher, arrived just for the end of this venture but already knows the pleasure of ancient buildings. Of books, we hope he learns.