EARLY RENAISSANCE ARCHITECTURE
IN ENGLAND.
BY THE SAME AUTHOR.
ARCHITECTURE OF THE
RENAISSANCE IN ENGLAND.
ILLUSTRATED BY A SERIES OF VIEWS
AND DETAILS FROM BUILDINGS ERECTED
BETWEEN THE YEARS 1560 and 1635, WITH
HISTORICAL AND CRITICAL TEXT....
The Illustrations comprise 145 Folio Plates, 118 being reproduced
from Photographs taken expressly for the work, and
180 Blocks in the Text.
2 vols., large folio, in cloth portfolios £7 7s. Net.
or half morocco, gilt £8 8s. Net.
[Illustration: PLATE I.
HENRY VII.'S CHAPEL, WESTMINSTER ABBEY.
INTERIOR VIEW, SHOWING VAULTING AND SCREEN.]
EARLY RENAISSANCE
ARCHITECTURE
IN ENGLAND
A HISTORICAL & DESCRIPTIVE ACCOUNT OF THE
TUDOR, ELIZABETHAN, & JACOBEAN PERIODS,
1500-1625
FOR THE USE OF STUDENTS AND OTHERS
BY
J. ALFRED GOTCH, F.S.A.
AUTHOR OF "ARCHITECTURE OF THE
RENAISSANCE IN ENGLAND," ETC.
WITH EIGHTY-SEVEN COLLOTYPE AND OTHER PLATES AND
TWO HUNDRED AND THIRTY ILLUSTRATIONS IN THE TEXT
LONDON
B. T. BATSFORD, 94 HIGH HOLBORN
MDCCCCI
BRADBURY, AGNEW, & CO. LD., PRINTERS,
LONDON AND TONBRIDGE.
PREFACE.
It should, perhaps, be observed that although this book is entitled
_Early Renaissance Architecture in England_, it deals with much the
same period as that covered by my former work _The Architecture of the
Renaissance in England_, but with the addition of the first half of
the sixteenth century. The two books, however, have nothing in common
beyond the fact that they both illustrate the work of a particular
period. The former book exhibits a series of examples, to a large
scale, of Elizabethan and Jacobean buildings, with a brief account
of each: whereas this one takes the form of a handbook in which the
endeavour is made to trace in a systematic manner the development of
style from the close of the Gothic period down to the advent of Inigo
Jones.
It is not the inclusion of the first half of the sixteenth century
which alone has led to the adoption of the title _Early Renaissance_:
the limitation of period which these words indicate appeared
particularly necessary in consequence of the recent publication of
two other books, one being the important work of Mr. Belcher and Mr.
Macartney, illustrating buildings of the seventeenth and eighteenth
centuries, under the title of _Later Renaissance Architecture in
England_; and the other being Mr. Reginald Blomfield's scholarly book,
_A History of Renaissance Architecture in England_, which, although
it starts with the beginning of the sixteenth century, does not dwell
at any length upon the earlier work, but is chiefly devoted to an
exhaustive survey of that of the seventeenth and eighteenth centuries.
The value of a work on Architecture is greatly enhanced by
illustrations, and I am much indebted to the numerous gentlemen who,
with great courtesy, have placed the fruits of their pencil, brush, or
camera at my disposal: their names are given in the Lists of Plates and
Illustrations. More particularly I desire to acknowledge the kindness
of the Committee of that very useful publication _The Architectural
Association Sketch Book_, in giving permission for some of their plates
to be reproduced; and among other contributors I have especially to
thank Colonel Gale, Mr. W. Haywood, and Mr. Harold Brakspear; while
to Mr. Ryland Adkins I am indebted for several valuable suggestions
in connection with the text of the Introductory chapter. Mr. Bradley
Batsford has rendered ungrudging assistance at every stage of the
undertaking, which has particularly benefited from his broad and
liberal views in regard to the illustrations. My thanks are also due to
those ladies and gentlemen who allowed me to examine, and sometimes to
measure and photograph their houses; and I am indebted to Mr. Chart,
the Clerk of Works at Hampton Court Palace, for much useful information
imparted during my investigations there.
Each illustration is utilized to explain some point in the text, but
in many cases the reference is purposely made short, the illustration
being left to tell its own story.
J. ALFRED GOTCH.
WEST HILL, KETTERING.
_August, 1901._
CONTENTS.
CHAP. PAGE
I.--INTRODUCTORY 1
II.--THE INVASION OF THE FOREIGN STYLE 10
III.--THE DEVELOPMENT OF THE HOUSE PLAN
FROM ABOUT 1450 TO 1635 41
IV.--EXTERIOR FEATURES--THE LAY-OUT OF HOUSES,
LODGES AND GATEWAYS, DOORWAYS AND PORCHES 73
V.--EXTERIOR FEATURES--GENERAL ASPECT, EXTERNAL
APPEARANCE, WINDOWS OF VARIOUS KINDS 94
VI.--EXTERIOR FEATURES--GABLES, FINIALS, PARAPETS
CHIMNEYS, RAIN-WATER HEADS, GARDENS 116
VII.--INTERIOR FEATURES--ROYAL PROGRESSES, THE MANNER
OF DECORATING ROOMS, WOOD-PANELLING 138
VIII.--INTERIOR FEATURES--TREATMENT OF THE HALL,
OPEN ROOFS, THE SMALLER ROOMS, DOORS AND DOOR
FURNITURE, CHIMNEY-PIECES, CEILINGS, PENDANTS,
FRIEZES 159
IX.--INTERIOR FEATURES--STAIRCASES, THE GREAT CHAMBER,
THE LONG GALLERY, GLAZING, &c. 184
X.--MISCELLANEOUS WORK--STREET HOUSES, MARKET
HOUSES, ALMSHOUSES, TOWN HALLS, VILLAGE CROSSES,
SCHOOLS, CHURCHES AND THEIR FITTINGS, &c. 200
XI.--SIXTEENTH CENTURY HOUSE-PLANNING--ILLUSTRATED
FROM THE COLLECTION OF JOHN THORPE'S
DRAWINGS 226
XII.--ARCHITECTURAL DESIGNERS OF THE SIXTEENTH
CENTURY 253
LIST OF WORKS ON EARLY RENAISSANCE ARCHITECTURE 267
INDEX 271
LIST OF PLATES.
NOTE.--The letters "A.A.S.B." denote that the subject is
reproduced from _The Architectural Association Sketch Book_, with
authority of the Draughtsman and by permission of the Committee.
PLATE
I.--HENRY VII.'S CHAPEL, WESTMINSTER ABBEY, INTERIOR
VIEW _Frontispiece._
S. B. Bolas, London, photo.
FACING
II.--HENRY VII.'S TOMB IN WESTMINSTER ABBEY PAGE
H. O. Cresswell, del. 14
III.--DETAILS FROM THE TOMB OF HENRY, LORD MARNEY,
LAYER MARNEY CHURCH Fred Chancellor, del. 18
{ FAN VAULTING, CHAPEL OF THE REDMOUNT, KING'S LYNN }
{ W. Galsworthy Davie, photo.}
IV.{ } 19
{ VAULTING OF PORCH, COWDRAY HOUSE, SUSSEX }
{ J. A. G., photo.}
V.--THE COUNTESS OF SALISBURY'S CHANTRY, CHRISTCHURCH;
VIEW FROM CHOIR 20
VI.--THE COUNTESS OF SALISBURY'S CHANTRY, CHRISTCHURCH;
DETAIL OF NICHES ON NORTH SIDE 22
{ PART OF SCREEN, ST. CROSS, WINCHESTER }
VII.{ W. Galsworthy Davie, photo.} 26
{ PAULET TOMB, BASING CHURCH J. A. G., photo. }
VIII.--SCREEN IN THE CHAPEL, KING'S COLLEGE, CAMBRIDGE 28
{ TITLE PAVING FROM LACOCK ABBEY }
{ Harold Brakspear, del.}
IX.{ } 38
{ SINGLE TILES FROM THE SAME PAVEMENT }
{ W. Haywood, del.}
X.--CHEST FROM ST. MARY OVERIE, SOUTHWARK
Victor T. Jones, del. [A.A.S.B.] 40
XI.--COMPTON WINYATES; GENERAL VIEW 47
XII.--COMPTON WINYATES; THE ENTRANCE PORCH
C. E. Mallows, del. 48
XIII. (DOUBLE)--DETAILS FROM LAYER MARNEY TOWER
Arnold B. Mitchell, del. 52-3
XIV.--THE ENTRANCE GATEWAY, HENGRAVE HALL
J. Palmer Clarke, Bury St. Edmund's, photo. 56
XV.--THE ENTRANCE PORCH, MORETON OLD HALL
Maxwell Ayrton, del. 58
XVI.--A GABLE FROM THE FRONT, MORETON OLD HALL
Maxwell Ayrton, del. 58
XVII.--SOUTH SIDE OF COURTYARD, KIRBY HALL
M. Starmer Hack, del. 60
XVIII.--JOHN THORPE'S GROUND PLAN FOR KIRBY HALL
From the Soane Museum Collection. 62
XIX. (DOUBLE)--DETAILS OF PORCH IN COURT, KIRBY HALL
Arthur G. Leighton, del. 64-5
XX.--THE ENTRANCE PORCH, MONTACUTE HOUSE
From a water-colour by W. Haywood. 66
XXI.--THE ENTRANCE FRONT AND GATEHOUSE, DODDINGTON
HALL. By permission from Rev. R. E. G. Cole's
_History of Doddington_ 69
XXII.--THE GATEHOUSE AT STANWAY 78
XXIII.--THE GATEHOUSE AT WESTWOOD 79
{ DOORWAY AT CHIPCHASE CASTLE }
{ J. P. Gibson, Hexham, photo.}
XXIV.{ } 85
{ PORCH OF THE MANOR HOUSE, UPPER SLAUGHTER }
{ W. Galsworthy Davie, photo.}
{ THE GRAND STAIRCASE, WARDOUR CASTLE }
{ G. W. Wilson, Aberdeen, photo.}
XXV.{ } 86
{ DOORWAY IN COURT, HATFIELD HOUSE }
{ Col. Gale, photo.}
XXVI.--ARCADED PORCH AT CRANBORNE MANOR HOUSE 91
XXVII.--WOLLATON HALL; GENERAL VIEW 97
XXVIII.--BURGHLEY HOUSE; GENERAL VIEW
G. W. Wilson, Aberdeen, photo. 98
{ EXTON OLD HALL, RUTLAND }
XXIX.{ } J. A. G., photo. 100
{ THE MANOR HOUSE, GLINTON }
XXX.--MOUNT GRACE PRIORY, YORKSHIRE 106
XXXI.--VIEW OF FRONT, SPEKE HALL 107
XXXII.--PART OF THE FRONT, BARRINGTON COURT
Kotaro Sakurai, del. [A.A.S.B.] 110
{ ASTLEY HALL }
XXXIII.{ Bedford Lemere, London, photo.} 112
{ KIRBY HALL; THE BAY WINDOWS Col. Gale, photo. }
XXXIV.--GABLES AT LILFORD HALL 112
{ HOLMSHURST, BURWASH }
XXXV.{ }W. Galsworthy Davie, photo. 118
{ TUDOR HOUSE, BROADWAY }
XXXVI.--CHIMNEY-STACK AND WINDOW FROM LACOCK ABBEY
Harold Brakspear, del. 128
XXXVII.--BLICKLING HALL; PART OF ENTRANCE FRONT 130
{ STEPS TO TERRACE, HADDON HALL }
XXXVIII.{ TERRACE WALL, CLAVERTON HOUSE } 133
{ J. L. Robinson, photo.}
{ GATEWAY, HIGHLOW HALL, NEAR }
XXXIX.{ HATHERSAGE }J. A. G., photo. 136
{ TERRACE STEPS, EYAM HALL }
{ SIDE OF BAY IN THE DINING ROOM, }
XL.{ HADDON HALL }
{ PANELLING IN THE DINING ROOM, }J. A. G., PHOTO. 153
{ HADDON HALL }
{ WOODWORK IN CHAPEL, HADDON HALL }
XLI.{ BAY WINDOW IN THE DRAWING }J. A. G., PHOTO. 154
{ ROOM, HADDON HALL }
XLII.--AN INTERIOR FROM CARBROOK HALL, NEAR
SHEFFIELD 157
XLIII.--SIDE OF ROOM AT BENTHALL HALL
B. J. Fletcher, del. 156
XLIV.--SCREEN IN THE HALL, WADHAM COLLEGE, OXFORD 159
XLV.--SCREEN IN THE HALL, TRINITY COLLEGE, CAMBRIDGE 160
XLVI.--SCREEN IN THE HALL, WOOLLAS HALL
Harold Baker, Birmingham, photo. 160
XLVII.--THE GREAT CHAMBER, SOUTH WRAXALL MANOR HOUSE
Ernest W. Gimson, del. 162
XLVIII.--FIREPLACE AND PANELLING IN THE MAYOR'S ROOM,
OLD TOWN HALL, LEICESTER 162
XLIX.--SIDE OF A ROOM, THE "REINDEER" INN, BANBURY
John Stewart, del. 162
L.--DETAILS OF PANELLING FROM SIZERGH HALL
F. Dare Clapham, del. 163
LI.--INTERIOR PORCH, BROUGHTON CASTLE 163
LII.--THE PRESENCE CHAMBER AT HARDWICK HALL
A. Seaman, Chesterfield, photo. 164
LIII.--DOORWAY IN A HOUSE AT BRISTOL 164
LIV.--A DOORWAY FROM LEVENS HALL
F. B. Turner, Flamborough, photo. 165
{ DOORWAY, GAYTON MANOR HOUSE J. A. G., del.}
LV.{ DOORWAY, ST. PETER'S HOSPITAL, BRISTOL } 166
{ T. Locke Worthington, del. [A.A.S.B.]}
LVI.--CHIMNEY-PIECE FROM BOUGHTON HOUSE 168
LVII.--CHIMNEY-PIECE FROM LACOCK ABBEY
Harold Brakspear, del. 168
LVIII.--A CHIMNEY-PIECE FROM BARLBOROUGH HALL
Col. Gale, photo. 168
LIX.--CHIMNEY-PIECE IN KING JAMES'S ROOM, HATFIELD
HOUSE Col. Gale, photo. 169
LX.--CHIMNEY-PIECE IN THE GREAT CHAMBER, SOUTH
WRAXALL MANOR HOUSE W. Haywood, del. 169
LXI.--CHIMNEY-PIECE FROM HARDWICK HALL
J. L. Robinson, photo. 169
LXII.--CHIMNEY-PIECE FROM FORD HOUSE, NEWTON ABBOT
J. A. G., del. 170
LXIII.--CHIMNEY-PIECE AT WHISTON, SUSSEX
Col. Gale, photo. 171
LXIV.--TWO CHIMNEY-PIECES FROM BOLSOVER CASTLE
Col. Gale, photo. 171
LXV.--CHIMNEY-PIECE AT BROMLEY-BY-BOW PALACE 172
LXVI.--CHIMNEY-PIECE FROM CASTLE ASHBY
Bedford Lemere, London, photo. 172
LXVII.--CEILING AND FRIEZE FROM CARDINAL WOLSEY'S
CLOSET, HAMPTON COURT PALACE J. A. G., photo. 175
LXVIII.--CEILING AT DEENE HALL J. A. G., photo. 177
LXIX.--CEILING FROM THE "REINDEER" INN, BANBURY
J. A. G., photo. 178
LXX.--CEILING OF THE GREAT CHAMBER, ASTON HALL
From W. Niven's _Account of Aston Hall_. 180
LXXI.--CEILING OF KING CHARLES' BEDROOM, ASTON HALL
From W. Niven's _Account of Aston Hall_. 180
LXXII.--STAIRCASE FROM BURGHLEY HOUSE, STAMFORD
After Richardson. 187
LXXIII.--PLANS OF STAIRCASES FROM JOHN THORPE'S DRAWINGS
In the Soane Museum Collection. 189
LXXIV.--STAIRCASE, AUDLEY END C. J. Richardson, del. 194
LXXV.--THE LONG GALLERY, HADDON HALL
G. W. Wilson, Aberdeen, photo. 196
LXXVI.--THE LONG GALLERY, ASTON HALL
Harold Baker, photo. 196
LXXVII.--GLASS PANEL FROM MORETON OLD HALL
John West, del. 198
LXXVIII.--FOUR EXAMPLES OF LEAD GLAZING FROM W. GEDDE'S
"BOOKE OF SUNDRY DRAUGHTES," 1611 199
LXXIX.--TWO STREET HOUSES FROM OXFORD AND
STRATFORD-ON-AVON 202
LXXX.--THE VILLAGE CROSS, BRIGSTOCK Miss Dryden, photo. 211
LXXXI.--DETAILS OF THE CHICHESTER TOMB, PILTON CHURCH 218
LXXXII.--CHOIR SCREEN FROM ALL SAINTS' CHURCH, TILNEY
C. A. Nicholson, del. 219
LXXXIII.--PULPIT IN EDINGTON CHURCH
R. Shekleton Balfour, del. 221
LXXXIV.--JOHN THORPE'S DRAWING FOR SIR JARVIS CLIFTON'S
HOUSE From the Soane Museum Collection. 231
LXXXV.--UN-NAMED PLAN AND ELEVATION John Thorpe. 234
LXXXVI.--PLAN "FOR SIR Wm. HASERIDGE" John Thorpe. 235
LXXXVII.--ELEVATION OF PLAN ENTITLED "FOR SIR Wm.
HASERIDGE" John Thorpe. 235
LIST OF ILLUSTRATIONS.
NOTE.--The letters "A.A.S.B." denote that the subject is
reproduced from _The Architectural Association Sketch Book_, with
authority of the Draughtsman and by permission of the Committee.
ILLUSTRATION PAGE
1. Tomb of Prince Arthur in Worcester Cathedral
J. L. Robinson, photo. 10
2. Tomb of one of the Cokayne Family, Ashbourne Church.
J. A. G., photo. 11
3. Henry VII.'s Tomb; Detail of Ornament
H. O. Cresswell, del. 12
4. Tomb of John Harrington, Exton Church J. A. G., photo 13
5. Tomb of Thomas Cave, Stanford Church J. A. G., photo 13
6. " " " End Panel J. A. G., photo. 14
7. Tomb of Sir George Vernon, Bakewell Church
J. A. G., photo. 14
8. Tomb of Sir Thomas Andrew, Charwelton Church
Miss Dryden, photo. 15
9. Tomb of ---- Bradbourne, Ashbourne Church J. A. G., photo 16
10. Panel from the Tomb of Elizabeth Drury, Hawstead Church.
J. A. G., del. 17
11. Tomb of Henry, Lord Marney, Layer Marney Church
Fred Chancellor, del. 18
12. Carving from the Sedilia, Wymondham Church. J. A. G., del. 19
13. Cowdray House, Sussex; Vaulting Rib of Porch.
J. A. G., del. 19
14. Chantry of the Countess of Salisbury, Christchurch, from the
North Aisle 20
15. The Salisbury Chantry, Christchurch; Detail of Carving.
J. A. G., photo. 21
16. Prior Draper's Chantry, Christchurch; Head of Doorway. 21
17. Christchurch; Divisions between Miserere Seats
J. A. G., photo. 22
18. " Bench-end in Choir J. A. G., photo. 23
19. Doorway and Panelling in the Gallery at the Vyne, near
Basingstoke J. A. G., photo. 24
20. Screen on the North Side of Choir, Winchester Cathedral
(with Mortuary Chest) 25
21. Canopy of Stalls, Henry VII.'s Chapel, Westminster
A. W. Pugin, del. 26
22. Detail from Stalls, Henry VII.'s Chapel, Westminster
G. G. Woodward, del. [A.A.S.B.]. 27
23. The Spring Pew, Lavenham Church J. L. Robinson, photo. 27
24. Detail from the Spring Pew, Lavenham Church
C. R. Pink, del. 28
25. Roof of the Hall, Eltham Palace
E. and S. H. Barnsley, del. 29
26. Roof of the Great Hall, Hampton Court Palace
A. W. Pugin, del. 30
27. Details from the Roof of the Great Hall, Hampton Court.
A. W. Pugin, del. 31
28. Hampton Court; Head of Door to Great Hall. J. A. G., photo. 32
29. Lacock Abbey; Tower at South-east Corner
W. Haywood, del. 36
30. " " Stone Table in Tower
Sidney Brakspear, photo. 37
31. " " Stone Table in Tower
Sidney Brakspear, photo. 38
32. " " The Stables W. Haywood, del. 39
32A. Panel from the Sedilia, Wymondham Church J. A. G., del. 40
33. Great Chalfield House; Plan After T. L. Walker. 43
34. Oxburgh Hall; Ground Plan After J. Britton. 44
35. " " Entrance Tower J. L. Robinson, photo. 45
36. East Barsham House; Ground Plan After A. W. Pugin. 46
37. Compton Winyates; Ground Plan After Heber Rimmer. 48
38. Sutton Place, near Guildford; Ground Plan
S. Forster Hayward, del. 49
39. " " Details A. C. Gladding, del. [A.A.S.B.]. 50
40. " " Part Elevation of Courtyard
A. C. Gladding, del. [A.A.S.B.]. 51
41. Layer Marney Tower; Entrance Tower
Arnold B. Mitchell, del. 53
42. Hengrave Hall; Ground Plan After J. Britton. 54
43. " " West Front J. L. Robinson, photo. 55
44. " " Corbelling of Bay Window over Entrance
Archway J. A. G., del. 56
45. Moreton Old Hall; Ground Plan After J. Strong. 57
46. Kirby Hall; Ground Plan A. G. Leighton, del. 61
47. Montacute House; Ground Plan After J. N. Johnston. 65
48. " " West Front, with Court and Garden-houses
J. L. Robinson, photo. 66
49. Barlborough Hall; Plan of Principal Floor J. A. G., del. 67
50. " " Entrance Front Col. Gale, photo. 68
51. Doddington Hall; Ground Plan J. A. G., del. 69
52. Burton Agnes Hall; Ground Plan J. A. G., del. 70
53. Aston Hall, near Birmingham; Ground Plan After W. Niven. 71
54. " " " North Wing
Harold Baker, photo. 72
55. Holdenby House; Plan of Lay-out From an old Survey. 75
56. Doddington Hall; Block Plan J. A. G., del. 77
57. Stokesay Castle; The Gatehouse Col. Gale, photo. 78
58. Cold Ashton Manor House; Entrance Gateway
J. A. G., photo. 79
59. Winwick; Gateway to Manor House J. A. G., photo. 79
60. Gateway to Almshouses, Oundle J. A. G., photo. 80
61. Holdenby House; Gateways to Base-court
Miss Dryden, photo. 80
62. Kenyon Peel Hall; Gateway at Side of Court
J. A. G., photo. 81
63. Doddington Hall; Entrance Doorway J. A. G., del. 82
64. Porch at Chelvey Court, Somerset J. A. G., photo. 83
65. Doorway at Nailsea Court, Somerset J. A. G., photo. 84
66. Doorway at Gayhurst Manor House J. A. G., photo. 85
67. Doorway at Cold Ashton Manor House J. A. G., photo. 86
68. Doorway at Cheney Court J. A. G., photo. 86
69. Woollas Hall; Part of Entrance Front Harold Baker, photo. 87
70. Porch at Gorhambury, near St. Albans (photo.) 88
71. Hambleton Old Hall (photo.) 89
72. Chastleton House; Ground Plan After J. A. Cossins. 90
73. Doorway at Lyddington John Bilson, del. 91
74. Doorway at Broadway J. A. G., del. 92
75. Doorway at Aylesford Hall W. Talbot Brown, del. 93
76. Kirby Hall; South Side of Court F. W. Bull, photo. 95
77. " " West Front J. A. G., photo. 96
78. Longleat House, Wiltshire (photo.) 96
79. Wollaton Hall; Plan of Principal Floor After P. K. Allen. 97
80. Charlton House, Wiltshire (photo.) 98
81. Aston Hall; The South Front Harold Baker, photo. 99
82. Corsham Court, Wiltshire J. L. Robinson, photo. 100
83. Kentwell Hall J. L. Robinson, photo. 100
84. Cheney Court J. A. G., photo. 101
85. The Manor House, Cold Ashton J. A. G., photo. 102
86. " " " " Ground Plan J. A. G., del. 102
87. Bolsover Castle J. A. G., photo. 103
88. " " Ground Plan J. A. G., del. 104
89. Condover Hall; The Garden Front J. L. Robinson, photo. 105
90. Clegg Hall, near Rochdale W. Riley, del. 106
91. Courtyard, Ingelby Manor (photo.) 107
92. House at Mayfield W. Galsworthy Davie, photo. 108
93. Cowdray House; Part of Court J. A. G., photo. 109
94. Hoghton Tower; Bay of Hall J. A. G., photo. 110
95. Burton Agnes Hall; Bay Windows Frith, Reigate, photo. 111
96. House at Bourton-on-the-Water
W. Galsworthy Davie, photo. 112
97. Cottage at Steventon Col. Gale, photo. 113
98. Sections of Various Window Jambs and Mullions
J. A. G., del. 114
99. Window Sill at Wollaton Hall W. Talbot Brown, del. 114
99A. Head of Window from Hatfield House J. A. G., del. 115
100. A Northamptonshire Cottage Miss Dryden, photo. 116
101. Stone Finials and Kneelers J. A. G., del. 117
102. The Manor House, Finstock W. Galsworthy Davie, photo. 117
103. Cottage at Rothwell J. A. G., del. 118
104. Cottage at Treeton, near Sheffield C. Hadfield, del. 119
105. Cottage at Steventon Col. Gale, photo. 120
106. Wollaton Hall; One of Corner Towers (photo.) 121
107. Kirby Hall; Part of West Front Col. Gale, photo. 122
108. Gable in the Court, Rushton Hall J. A. G., del. 123
109. Gable in the Court, Apethorpe Hall J. A. G., del. 123
110. Exton Old Hall; Stone Parapet J. A. G., del. 124
111. Bramshill House; Stone Parapet After H. Shaw. 124
112. Audley End; Stone Parapet After C. J. Richardson. 124
113. Rushton Hall; Gable on East Front Col. Gale, photo. 125
114. Chimney at Droitwich W. Habershon, del. 126
115. Brick Chimney from Huddington Court House J. A. G., del. 127
116. Brick Chimney from Bardwell Manor House J. A. G., del. 127
117. Chimney at Toller Fratrum J. A. G., del. 127
118. Chimney at Kirby Hall J. A. G., del. 127
119. Typical Chimney in the Midlands J. A. G., del. 129
120. Chimney at Chipping Campden J. A. G., del. 129
121. Chimney at Drayton House J. A. G., del. 129
122. Chimney at Triangular Lodge, Rushton J. A. G., del. 129
123. Bean Lodge, near Petworth W. Galsworthy Davie, photo. 130
124. Lead Rain-water Head from Haddon Hall
From Mr. W. R. Lethaby's _Leadwork_, by permission of
Macmillan & Co. 131
125. Lead Rain-water Head from Haddon Hall
From Mr. W. R. Lethaby's _Leadwork_, by permission of
Macmillan & Co. 131
126. Lead Rain-water Head from Haddon Hall
From Mr. W. R. Lethaby's _Leadwork_, by permission of
Macmillan & Co. 131
127. Pipe Head from Sherborne Henry Shaw, del. 131
128. Lead Pipe Head from Knole House
W. Talbot Brown, del. 132
129. Lead Pipe Head from Bramshill House
W. Talbot Brown, del. 132
130. Gayhurst; Stone Pillar in Garden J. A. G., photo. 133
131. Gateway in a House at Lindfield Arthur Ardron, del. 134
132. Chipping Campden; The Garden-house Percy D. Smith, del. 136
133. Eyam Hall; Plan of Lay-out J. A. G., del. 137
134. Bedroom in Deene Hall; Plaster Ceiling; Tapestry on Walls.
J. A. G., photo. 147
135. Haddon Hall; A Corner of the Great Hall J. A. G., photo. 149
136. Panelling of the Time of Henry VIII. J. A. G., photo. 150
137. Example of Linen Panelling, Stanford Church
J. A. G., photo. 151
138. A Panel of the Time of Henry VIII. J. A. G., photo. 152
139. Door at Castle Rising W. Galsworthy Davie, photo. 153
140. Panelling of Door at Beckington Abbey J. A. G., photo. 154
141. Door at Nailsea Court J. A. G., photo. 155
142. Part of Reredos (removed) at Stowe-Nine-Churches
J. A. G., photo. 156
143. Part of the Court Pew, Chelvey Church J. A. G., photo. 157
144. Part of Screen (removed), Stowe-Nine-Churches
J. A. G., photo 158
145. The Hall, Knole House (photo.) 159
146. Wollaton Hall; The Roof of the Great Hall
Percy K. Allen, del. 160
147. Roof of Great Hall, Kirby George P. Bankart, photo. 161
148. Panelling from Sizergh Hall (now in South Kensington
Museum) F. Dare Clapham, del. 163
149. Doorway, Abbott's Hospital, Guildford J. A. G., photo. 164
150. Latch from Abbott's Hospital, Guildford
E. A. Rickards, del. [A.A.S.B.]. 165
151. Latch from Haddon Hall R. S. Dods, del. [A.A.S.B.]. 165
152. Lock-plates, Latches, &c. After C. J. Richardson. 166
153. Casement Fastener from Haddon Hall
R. S. Dods, del. [A.A.S.B.]. 166
154. Key-plate from Abbott's Hospital, Guildford
E. A. Rickards, del. [A.A.S.B.]. 167
155. A Knocker After C. J. Richardson. 167
156. Wood Chimney-piece, Benthall Hall B. J. Fletcher, del. 170
157. Stone Chimney-piece, Bolsover Castle.
J. L. Robinson, photo. 171
158. Ceiling of the Presence Chamber, Hampton Court.
After Nash. 173
159. Bosses from Ceilings at Hampton Court J. A. G., photo. 174
160. Patera to a Ceiling at Hampton Court J. A. G., del. 175
161. Part of the Ceiling in the Long Gallery, Haddon Hall.
J. A. G., photo. 176
162. Part of a Coved Ceiling at Beckington Abbey
J. A. G., photo. 177
163. Coved Ceiling, Beckington Abbey J. A. G., photo. 177
164. Part of a Ceiling from Sizergh Hall (now in South Kensington
Museum) F. Dare Clapham, del. 178
165. Ceiling from Benthall Hall B. J. Fletcher, del. 179
166. Ceiling in Gatehouse, Haddon Hall
R. S. Dods, del. [A.A.S.B.]. 180
167. Pendants of Plaster Ceilings After C. J. Richardson. 181
168. Examples of Plaster Friezes from Montacute, Audley End, and
Charlton House After C. J. Richardson. 182
169. Plaster Frieze from Montacute House
C.J. Richardson, del. 183
170. Part of Plaster Frieze, Carbrook Hall
W. Talbot Brown, del. 184
171. Ceiling of a Triangular Bay Window at Little Charlton House
After C. J. Richardson. 184
172. Staircase at Lyveden Old Building J. A. G., del. 186
173. Details of Staircase, Hambleton Old Hall
W. Talbot Brown, del. 187
174. Staircase from East Quantockshead J. A. G., del. 187
175. Details of Staircase, Lyveden Old Building J. A. G., del. 188
176. Pierced Baluster J. A. G., del. 189
177. Staircase at Ockwells Manor House H. C. Pullin, del. 189
178. " " " " Plans and Details
H. C. Pullin, del. 190
179. Staircase at Benthall Hall, Shropshire
J. L. Robinson, photo. 191
180. Staircase at a House at Warwick J. A. G., del. 192
181. Staircase at the Charterhouse Roland W. Paul, del. 193
182. Portion of Glazing from Ightham Church J. A. G., del. 197
183. Glass Panel from one of the Windows at Gilling Castle.
J. A. G., del. 198
184. House formerly in North Street, Exeter
W. R. Lethaby, del. [A.A.S.B.]. 200
185. House in the High Street, Canterbury
W. Galsworthy Davie, photo. 201
186. Old House, High Town, Hereford. Valentine, Dundee, photo. 202
187. Corbels, "King's Arms," Sandwich
W. Galsworthy Davie, photo. 204
188. Corbel at Canterbury W. Talbot Brown, del. 205
189. Corbel at Canterbury W. Talbot Brown, del. 205
190. Corbel at Orton Waterville W. Talbot Brown, del. 205
191. The "Swan" Inn, Lechlade W. Galsworthy Davie, photo. 206
192. Desk in Almshouses, Corsham W. Haywood, del. 207
193. Almshouses, Chipping Campden. W. Galsworthy Davie, photo. 208
194. Market House, Shrewsbury (photo.) 208
195. Market House, Wymondham (photo.) 209
196. Market House, Chipping Campden
W. Galsworthy Davie, photo. 210
197. School at Burton Latimer Miss Dryden, photo. 211
198. Mill at Bourne Pond, Colchester Col. Gale, photo. 212
199. Hawking-tower, Althorp Park (photo.) 213
200. Plan of Hawking-tower, Althorp Park J. A. G., del. 213
201. The Sign of the "White Hart" Inn, formerly at Scole
E. A. Heffer, del. 214
202. The Chichester Tomb, Pilton Church
Vickery Brothers, Barnstaple, photo. 215
203. Alabaster Frieze from one of the Foljambe Tombs,
Chesterfield Church W. Talbot Brown, del. 216
204. Tomb of G. Reed, Bredon Church Harold Baker, photo. 217
205. Tomb of Sir Wm. Spencer, Yarnton Church
Harold Baker, photo. 218
206. The Pulpit, Worth Church W. Galsworthy Davie, photo. 219
207. The Pulpit, Blythborough Church
W. Galsworthy Davie, photo. 220
208. The Pulpit, Chesterfield Church J. A. G., photo. 221
209. Font Cover and Canopy, Pilton Church
W. Galsworthy Davie, photo. 222
210. Window of North Aisle, Kelmarsh Church J. A. G., photo. 223
211. Keystones from Compton Winyates Church
W. Talbot Brown, del. 223
212. Door in the Screen of the Chapel, Peterhouse College,
Cambridge R. S. Dods, del. [A.A.S.B.]. 224
213. Plan of the Château of Anssi-le-Franc copied from
Du Cerceau John Thorpe. 227
214. Part Elevation of the Château of Anssi-le-Franc, with three
Turrets added John Thorpe. 228
215. Elevation copied from De Vries John Thorpe. 229
216. An Unnamed Plan John Thorpe. 232
217. An Unnamed Ground Plan John Thorpe. 236
218. Upper Plan of Fig. 217 John Thorpe. 237
219. Elevation of Figs. 217, 218 John Thorpe. 238
220. An Unnamed Plan John Thorpe. 239
221. Ground and Upper Plans, Unnamed John Thorpe. 240
222. Elevations of Plans in Fig. 221 John Thorpe. 241
223. Unnamed Plan and Elevation John Thorpe. 242
224. Plan and Elevation of House for Mr. Wm. Powell
John Thorpe. 243
225. Plan of House for Mr. Johnson ye Druggist John Thorpe. 244
226. An Unnamed Plan John Thorpe. 245
227. Ground Plan of House for Sir Jo. Danvers, Chelsey
John Thorpe. 246
228. Upper Plan and Elevation for Sir Jo. Danvers, Chelsey
John Thorpe. 247
229. An Unnamed Elevation John Thorpe. 248
230. " " John Thorpe. 249
231. " Plan (Circular) John Thorpe. 250
EARLY RENAISSANCE
ARCHITECTURE
IN ENGLAND
CHAPTER I.
INTRODUCTORY.
The progress of style in the mediæval architecture of England was
regular and continuous: so much so, that any one thoroughly acquainted
with its various phases can tell the date of a building within
some ten years by merely examining the mouldings which embellish
it. These successive phases, moreover, merge into one another so
gradually, that although it has been possible to divide them into
four great periods--called Norman, Early English, Decorated, and
Perpendicular--yet the transition from one to the other is unbroken,
and the whole course of development can be traced as regularly as the
change from the simplicity of the trunk of a tree to the multiplicity
of its leaves. For about four centuries (A.D. 1100-1500) this
growth continued, English architecture finding within itself the power
of progression. But about the beginning of the sixteenth century it
began to feel the influence of an outside power--that of Italy--which
acted upon it with increasing force until, after two centuries, its
native characteristics had nearly disappeared, and Italian buildings
were copied in England almost line for line.
The object of the following pages is to display the effect of this
foreign influence upon our native architecture up to the point when it
became predominant, and stamped our buildings with a character more
Classic than Gothic. But it will be desirable first of all to glance
shortly at the causes which led to Italy having this extraordinary
influence, and at the general effect which that influence produced upon
England.
England, in common with the rest of North-western Europe, was the home
of Gothic architecture, instinct with the mystery and romantic spirit
of the Middle Ages. Italy was the home of Classic architecture, which
it had cherished since the great days of Rome. The Gothic manner was
never thoroughly acquired in Italy, even in those parts which lay
nearest to France and Germany, although it affected their buildings to
a certain extent. The best examples of Italian Gothic hold a low rank
in comparison with the masterpieces of the northern style. Classic
forms were those in which the Italian designer naturally expressed
himself, and it was these which he employed when that great revival of
the Arts which took place in the fifteenth century, set him building.
The earlier Renaissance in letters "the spring before the spring," of
which the great figures are Dante, Petrarch, and Boccaccio, heralded
a great awakening of architectural energy, and Italian architects,
in solving their new problems, mingled the results of a deep study
of ancient examples with much of mediæval spirit and tendency. They
set themselves resolutely to revive the architecture which had been
one of the glories of ancient Rome; but they could not, even had they
wished it, free themselves from the spirit of their own age, and the
result was the development of a kind of architecture which used old
forms in new ways, and which has gained the distinguishing title of the
Renaissance style.
But the awakening in architecture was only one manifestation of the
spirit which was abroad: in painting, sculpture, and all the applied
arts, as well as in literature, the same vivifying tendency was at
work. With the fall of Constantinople in 1453, an event which flooded
Western Europe with Greek scholars and Greek literature, a tremendous
impulse was given to the new aspirations. A new world of history and
poetry had been discovered, just as, forty years afterwards, a new
world of fact and reality was discovered by Columbus and Cabot. The
two events combined to excite men's imagination to an extraordinary
degree, and their stimulating effect was visible in all branches of
mental activity. There was a marvellous mingling of the old and the
new. In the past there was an inexhaustible well of knowledge and
suggestion; in the present a boundless opening for enterprise and
fresh experiences. Just at this juncture the invention of printing
was being perfected, and it came at the precise time to help the
dissemination of the new ideas. The result was that great movement
of the human mind known as the Renaissance, which in the space of a
century altered the life of Western Europe. In politics it shattered
the international fabric of the Middle Ages; in religion it brought
about the momentous change which we call the Reformation; in art it
wedded faultless execution with an extraordinary fecundity of design.
There followed an age richer, perhaps, than any other in original
genius and fertility of mental products. Italy was at the centre of
this upheaval. To her were attracted students from all parts of Europe,
not excepting England. She herself was teeming with men of talent in
all branches of learning and the arts. It was inevitable that she
should part with some of her superfluous energy to the surrounding
lands, touched as they were, though less intensely, with the new
spirit. So general was the enthusiasm that her neighbours were only
too glad to welcome whatever Italy could send, even if not of her
very best. The new movement eventually reached the distant shores
of England, but as the stream flowed across Europe it became tinged
with the peculiarities of the various lands over which it passed, and
each country can show its own version of the Italian Renaissance in
architecture as well as in other matters. Spain has one version, France
another, Germany another, and England yet another; and there is this
peculiarity about the English version--that it is coloured by the two
channels through which it came, France and the Netherlands.
The whole circumstances of the time being conducive to the spread of
Italian ideas and forms (which are only the embodiment of ideas), how
did they affect English architecture? They found in England a style
long established, and still endowed with considerable vigour. At no
period of its history had this style been so peculiarly English in its
more elaborate efforts, the special development known as fan-vaulting,
for instance--of which the finest examples are to be seen in the chapel
at King's College, Cambridge, and Henry VII.'s chapel at Westminster
(see Plate I.)--being found only in this country.
The Gothic style of England and the Classic style of Italy had next
to nothing in common. Their modes of expression were essentially
different. The former was elastic, informal, readily adapted to
different needs. Like Cleopatra, it was of infinite variety; its
component parts were small and manifold, its tendency was towards
well-marked vertical lines. Its outward appearance expressed its
inward arrangement: a window more or less, a buttress here, a chimney
there--so long as they were wanted--offered no difficulty to the
designer. Classic architecture, on the other hand, was formal and
restricted by considerations of symmetry; its component parts were
simple and less mobile than those of Gothic; its tendency was towards
strong horizontal lines. The Gothic string-course, for instance, could
jump up and down to adapt itself to a door or window; it broke round
projecting piers or buttresses without hesitation. But the classic
cornice continued in the same straight line, neither rising nor
falling, and only breaking forward round a pier or column after due
deliberation. Its projection was far greater than that of any similar
feature in Gothic work: it was consequently much less ductile. Compared
to Gothic detail, Classic was unwieldy, even that more pliant version
of it which had recently been evolved in Italy. The ornament, however,
with which the Italian designers so freely adorned their architectural
work, unlike that of the ancients, was generally small in scale and
elastic in character. Here, therefore, was a feature common to both
styles, and we shall find that it is in the ornament of buildings
that the change first took place. It will be seen that the progress
of the new style was very gradual: it showed itself first in small
objects, such as tombs and chantries, and in the unimportant detail of
larger buildings; then it affected the more significant detail; and
ultimately, after many years, it controlled the organic conception and
expression: but this final development did not take place till after
the close of the period which we are to consider. That which we are to
watch is the struggle of the old and the new: the encounter of the new
spirit steeped in classical learning, with the old Gothic traditions
and methods.
The great monuments of English Gothic architecture are to be found in
ecclesiastical buildings; those of the succeeding phase are domestic
in character. The change of thought in religious matters, which was
proceeding all through the sixteenth century, was not favourable to
church building, and after the dissolution of the monasteries by
Henry VIII. no more churches were built. But the new nobility, rich
with the spoils of the dissolved houses and the traffic of the Indies,
had acquired a taste for grandeur and dignity in outward life that
required great mansions for its display. It is therefore primarily
in the Elizabethan mansion that we must watch the contest between
the old style and the new--a contest rendered more piquant by the
fact that the new style had no experience of this particular kind of
building in the land of its origin. The English house had developed on
lines widely different from the Italian; it had to meet other wants,
it had to contend with a different climate, it was subject to other
traditions. The new style when it came, had to harmonize these strange
traditions as well as its own, derived from a far distant past, with
the original and fertile spirit of the age. The result is one of
abiding interest. Almost any of the great houses built in the reign
of Elizabeth will show to the casual spectator examples of crudity in
detail and imperfect classical proportion, mingled with reminiscences
of Gothic notions; but a deeper scrutiny will disclose the fact that
in spite of these shortcomings there is a national individuality and
sense of genius in the handling of materials sufficient to raise the
result to the dignity of a distinct style. Just as the "Faërie Queen"
shows a jumble of heathen gods and cardinal virtues, Christian knights
and Pagan nymphs, and yet withal is a consummate work of art, so the
buildings of the period--
"With many towers, and terrace mounted high,
And all their tops bright glistering with gold,"
in spite of their inconsistencies, have a fertility of fancy, a wealth
of ornament, and a simplicity of treatment which raise them to a
similar high plane. And just as the literature of the period, as it
became more in accordance with rule, lost half its originality and more
than half its fascination, so Renaissance Architecture, as it passed
from the Elizabethan to the Jacobean, and so to the succeeding phases,
became more homogeneous, more scholarly, more true to its classical
origin, and yet withal lost vitality in the process. The full meaning
of that great century which stretched from the divorce of Henry VIII.
to the accession of Charles I. cannot be grasped unless it is always
borne in mind that not only was a new style supplanting an old one,
but that it was doing so at a time when the originality and richness of
men's minds were at their height.
But while in England the new style was winning its way, in Italy it
was passing the zenith of its vigour. The continued study of ancient
monuments enabled architects to reduce the old methods of design to
a system which could be acquired with ease, and architectural design
became less a matter of invention than a capacity for adapting new
buildings to old rules. In course of time the same state of things
established itself in England. The invention of printing brought to
the eye of English craftsmen not only plans and pictures of buildings
recently erected in foreign lands, but also the rules which celebrated
Italian architects had laid down for the proportion of buildings
generally--rules founded partly on the study of ancient fabrics and
partly on the august authority of Vitruvius. The application of these
rules to circumstances and needs which had never been contemplated by
their authors was the problem which English designers set themselves
to solve. During the earlier years of their attempt they were almost
baffled. Then came Inigo Jones and Sir Christopher Wren, and by
their commanding genius they made the rules bend to their will; but
in the eighteenth century the rules triumphed completely, and, as
already said, Italian buildings were copied in England almost line
for line. It is the work of the men who were baffled that we are now
to examine: work which, judged from the standpoint of their better
tutored successors, may almost be regarded as a failure, but work which
exhibits a vitality, a fancy, and a sense of romance for which we look
in vain in the more correct architecture of the eighteenth century.
It is not surprising that England, in common with the rest of Europe,
should have felt the influence of Italy. It is, perhaps, rather a
matter for wonder that she should not have felt it earlier; that
the architectural Renaissance should have continued for more than a
century, and have reached its prime in Italy before it landed on our
shores and began to touch the more susceptible places of our English
stonework. But Brunelleschi, who crowned the cathedral of Florence with
its dome, and reared the Pitti Palace, had been dead seventy years;
the delicate sculpture on the façade of the Certosa of Pavia was
five-and-twenty years old; and Venice was busy lining her canals with
palaces, when Torrigiano brought the first Italian forms to England and
applied them to the tomb of Henry VII. in Westminster Abbey.
But the way had been paved beforehand. For some fifty years it had
been the custom of English scholars to repair to Italy to learn the
humanities. They returned home familiar, if not in love, with Italian
ideas and methods of expression, and if they themselves did nothing
outwardly to hasten the impending change, it was their poverty and not
their will which consented to inaction. Fine building requires money,
and accordingly it is in the work of monarchs, noblemen, and great
dignitaries of the Church that we find the first evidences of the
Italian invasion. Henry VIII. was the outward and visible, although
unconscious, agent who guided the new movement to our shores. His
great Cardinal, Wolsey, was not less active in building, but Henry was
the royal patron, vying with other monarchs in obtaining the services
of distinguished artists to adorn his surroundings. Now most of the
distinguished artists at that time were foreigners, hailing chiefly
from Italy. There were plenty of excellent English workmen it is true,
but it was the fashion to employ Italians. Henry's rival, Francis I. of
France, had secured the services of several such men; why not he? So
his efforts were frequent, although they met with comparatively small
success. Italians were loth to leave their own sunny surroundings,
where all men were in sympathy with them and their ways, for the chilly
fogs and the barbarous manners of those "beasts of English," as Cellini
called them. A few men complied with his requests; of these, Torrigiano
was the most celebrated. To him Henry entrusted the making of his
father's tomb, discarding the design approved by the dead monarch, and
taking the work out of the English hands already engaged upon it. None
of the other Italians whose names have been preserved have left any
great or permanent mark in the country to which they came unwillingly,
and which they left gladly. The other great foreign figure which stands
out among those of minor importance is that of a German, Holbein. But
though Holbein did much work in England in different branches of art,
he left no school, nor can the influence of his manner be traced far,
if at all, beyond his death. Names of Italians appear occasionally
as being employed by the King, and among them John of Padua occurs
most frequently; but no one knows who he was, nor what work he left
behind him. His name has often been attached to different buildings,
and he has been confused with John Thorpe, but no evidence has yet
been adduced actually connecting him with work that still survives.
One of the curious and provoking facts about the early years of the
Renaissance manner in England is the way in which Italian names elude
pursuit. Work which looks as though it must have been done by a
foreigner has no name that can be attached to it. Other work, which is
almost as foreign in appearance, is found on investigation to be that
of an Englishman.
Henry's rivalry with Francis I., his friendship and his feuds with that
monarch, seem to have had some effect on architectural ornament, for
much that was executed during Henry's lifetime has a French flavour
about it. It is curious, indeed, to observe how little hold actual
Italian detail obtained upon the fancy of English workmen. It was
not direct from Italy that they would take it. The Italians were not
liked by the English people at large; protests were raised by the
more thoughtful against the Italianizing of our young nobles. The
popular conception of the subtle Italian was embodied by Shakespeare
in Iachimo and the more infernal Iago. What Italian detail we find
in Henry VIII.'s time is chiefly superficial ornament, and even that
is by no means of universal application. It is to be found up and
down the country in considerable quantity, but side by side with work
which is still thoroughly Gothic in character. Islip, the Abbot of
Westminster, who laid the foundation stone of Henry VII.'s chapel, and
who saw the erection of that monarch's tomb--the great central feature
for which the chapel was built--was not sufficiently enamoured of the
new ornament to cause his own tomb to be of the same character. On the
contrary, the screen which encloses his chapel is free from any touch
of actual Renaissance detail, although erected some fifteen years after
Henry VII.'s tomb.
It was through Dutch and German channels that the Italian manner came
to stay. This was the result partly of ties of race and religion,
partly of commercial intercourse, and partly of the general imitation
of Dutch methods which prevailed in England during the latter half of
the sixteenth century. In commercial and political as well as naval
and military matters this imitation is well known to students of that
period. The character of Renaissance work in England during Henry
VIII.'s time inclined to Italian and the French version of Italian.
After his death it inclined towards the Dutch version. In both cases
it was strongly infused with English feeling; but there is this
difference, that whereas the earlier phase ended abruptly, no merging
of it into the latter being traceable, the second phase can be followed
step by step into the pronounced Italian of Inigo Jones's mature
manner. We can see how some features were dropped and others acquired,
until, by the double process of shedding and assimilation, the style of
Burghley House glides imperceptibly into that of the Banqueting Hall at
Whitehall.