10. A design of a quadrangle intersected by a corridor. 11. Sir John Bagnall's house, with a gallery above 60 ft. in length. 12. Burleigh House, built for Cecil the Lord Treasurer: but it exhibits only the plans of the ground and first floors, with designs and sketches for the scroll parapet. 13. Some details for Sir George St. Poole. 14. Thornton College, with a gallery 100 ft. long, for Sir Vincent Skinner. 15. A ground plan for Sir Thomas Holte. 16. A design. 17. The house called Holland House, at Kensington, for Sir Walter Coapes. This was finished by Thorpe in 1607, and afterwards received alterations and additions from the hands of Inigo Jones and Stone. 18. Giddea Hall, Essex; altered for Sir Anthony Coke, who there entertained Queen Elizabeth. 19. For Sir George Coppen. 20. Burghley on the Hill. Garden front. 21. "A front or garden side for a nobleman, three breadths of ordinary tenements; " supposed to have been for Sir Robert Greville's (Lord Brooke) house, near Gray's Inn. 22. "A London house for Mr. Darby." It was rebuilt by Sarah 23. Wimbledon. "A house stands upon the edge of a hill," built for Sir Thomas Cecil in 1588. Fuller says it was nearly equal to Nonsuch. Duchess of Marlborough, and was consumed by fire. Queene Mother's House," altered by I. Thorpe. 24. 25. "Monsieur Jammet in Paris, his house, 1620. All his offices are under grounde." 28. Longford Castle, Wiltshire (fig. 202.). A most singular production. A diagram of the Trinity drawn in the centre of a plan of the triangular court. It was erected for Sir Thomas Georges and his lady, the Marchioness Dowager of Northampton, in 1591, and is now the seat of the Earl of Radnor. 29. A plan for Sir Percival Hart, Lullingstone, Kent. 30. A house for Mr. Panton. 31. Holdenby, built for Sir Christopher Hatton in 1580, and now in ruins. Two large quadrangles in the plan, and an elevation of the front. 32 and 33. Plans for Mr. William Fitzwilliam and Sir Henry Neville. 34. Audley End; plan of the two courts. Thorpe's part completed about 1616. Much reduced in size since, and now the property of Lord Braybroke. 35. A design. 36. Mr. Taylor's house at Potter's Bar. 37. Sir Walter Covert's in Sussex, whereof the ruined walls are still standing. 38. Hatfield Lodge, a plan. 39 and 40. Drawings relating to Ampthill. 41. " Kirby, whereof I laid the first stone." This was a house for John Kirby, citizen of London, whose death is mentioned by Fleetwood, Recorder of London, in a letter to the Lord Treasurer Burleigh. He had built a fair house on Bethnal Green, whose loftiness and similitude to a castle, caused some ridicule of him by the rhymesters of the day 441. Walpole, upon Thorpe's Compositions, observes, that the taste of this master's mansions was that "bastard style which intervened between Gothic and Grecian architecture, or which, perhaps, was the style that had been invented for the houses of the nobility when they first ventured, on the settlement of the kingdom after the termination of the quarrel between the Roses, to abandon their fortified dungeons, and consult convenience and magnificence." The same author continues, "Thorpe's ornaments on the balustrades, porches, and outsides of windows are barbarous and ungraceful, and some of his vast windows advance outwards in a sharp angle; but there is judgment in his disposition of apartments and offices, and he allots more ample space for halls, staircases, and chambers of state. He appears, also, to have resided at Paris, and even seems to have been employed there." Among the designs he made is that of a whimsical edifice, designed for himself, forming on the plan the initial letters of his name H, which are joined by a corridor, the the situation of the offices, and the T being skilfully distributed into large and small The epigraph to the design is as follows: apartments. being Walpole truly observes of this volume, that "it is a very valuable record of the magnificence of our ancestors, and preserves memorials of many sumptuous buildings of which no other monument remains." We ought, perhaps, to have suffered our account of Thorpe to have been preceded by those of others, but the conspicuous rank he holds in the list of English architects of this period induced us to place him before another, for a little time his predecessor in the works of the country. We allude to the name of Robert Adams, who translated Ubaldini's account of the defeat of the Spanish Armada from the Italian into Latin; a feat which we fear but few architects of the present day would easily accomplish, such is the fall of education for artists, notwithstanding all the boasts of march of intellect. This translation appeared in 4to., 1589. He was surveyor of the queen's buildings, and appears to have been a man of considerable ability. His place of sepulture was in an aisle on the north side of the old church at Greenwich, with this inscription, Egregio Viro, Roberto Adams, operum regiorum supervisori architecturæ, peritissimo, Simon Basil, operationum regiarum contrarotulator, hoc posuit monumentum ob. 1595. 1601." 442. Bernard Adams and Lawrence Bradshaw were also eminent among the architects of the period under our consideration; but we must notice more particularly Gerard Christmas, who was associated with Bernard Jansen in the erection of Northampton, afterwards Suffolk, and now Northumberland House, not strictly belonging in time, though in style, to the reign of Elizabeth. Both of these architects had acquired considerable fame, and were, deservedly, much employed. In Northumberland House the cyphers of Christmas, C. E. (Christmas ædificavit), were used in the street front. The letters H. N. were originally in the balustrade here, standing for Howard Earl of Northampton, and were frequently repeated, a practice then much in vogue, for there are many examples of inscriptions of letters enclosed within the balustrade, as if within lines, and pierced so that the sky seen through them renders them distinct from almost every point of view. Bernard Jansen was probably the architect first employed at the splendid mansion of Audley Inn in Essex, for Thomas Howard Earl of Suffolk; and, besides the association with Christmas above mentioned, was joined with Moses Glover in completing Northumberland House, and was probably the architect who finished Sion House in Middlesex, for Henry Earl of Northumberland, who had at the time expended 9000l. in the work. 443. Robert and Huntingdon Smithson, father and son, were engaged on Wollaton Hall (fig. 203. at the foot of the preceding page), in Nottinghamshire, as also at Bolsover in Derbyshire. The former died in 1614, at the age of seventy-nine, and the latter in 1648, but it is pretty certain that Thorpe was consulted in this splendid work, for among his designs, as the reader will recollect, are some for Wollaton. 444. Thomas Holte, a native of York, was the architect of the public schools at Oxford (fig. 204.), of which the hint might have been taken from the Campanile of Santa Chiara at Naples, and of the quadrangles of Merton and Wadham colleges. He was the first in this country who introduced the classical orders in series above each other. He evidently borrowed the practice from Philibert Delorme, who had done the same thing at the Chateau d'Anet, near Paris, one of the victim edifices of the Revolution. argument to prove the absurdity of such conceits is unnecessary. 445. Many of the grandest works of what is termed the Elizabethan, or, in truth, the We apprehend any last Tudor style, were not completed before the middle of the reign of James I.; so that it may be said to have been practised until the days of Inigo Jones, in whose early works it may be traced. "This fashion," says Dallaway, " of building enormous houses was extended to that period, and even to the civil war. Audley Inn, Hatfield, Charlton, Wilts, and particularly Wollaton, are those in which the best architecture of that age may be seen. Others of the nobility, deserting their baronial residences, indulged themselves in a rivalship in point of extent and grandeur of their country-houses, which was, of course, followed by opulent merchants, the founders of new families. Sir Baptist Hickes, the king's mercer (afterwards ennobled ), built Campden House, Gloucestershire, which was scarcely inferior to Hatfield, afterwards burnt down. There is scarcely a county in England which cannot boast of having once contained similar edifices; a very few are still inhabited; others may be traced by their ruins, or remembered by the oldest villagers, who can confirm the tradition; and the sites, at least, of others are pointed out by descriptions as having existed within the memory of man.' 446. The following is a list of some of the principal palatial houses finished before 1600. Others of the reign of Elizabeth's successors will hereafter be noticed. Of so many of them are the names of the architects undetermined, though many are assigned to those we have already mentioned, that we shall not attempt to assign a column to the artists in question, for fear of misleading our readers. 447. Relative to Osterley, in the above table, a curious anecdote has been preserved by Fuller, in his Worthies of Middlesex. Queen Elizabeth, when visiting its magnificent merchant, the owner, observed to him that the court ought to have been divided by a wall. He immediately collected so many artificers, that before the queen had risen the next morning, says the historian, a wall had been actually erected. 448. Many of these houses possessed terraces of imposing grandeur, which were connected by broad or double flights of steps, with balustrades, whereof, if we may judge from Winstanley's print of Wimbledon, the seat of Sir Edward Cecil, it was a very fine example. The following extracts from the parliamentary survey of it in 1649 will convey some notion of its extent. "The scite of this manor-house being placed on the side slipp of a rising grownde, renders it to stand of that height, that betwixt the basis of the brick wall of the lower court, and the hall door of the sayd manor-house, there are five several ascents, consisting of three score and ten stepps, which are distinguished in a very graceful manner. The platforms were composed of Flanders brick, and the stepps of freestone, very well wrought. On the ground floor was a room called the stone gallery, 108 foot long, pillared and arched with gray marble." The ceiling of the hall" was of fret or parge work, in the middle whereof was fixed one well-wrought landskip, and round the same, in convenient distances, seven other pictures in frames, as ornaments to the whole roome; the floor was of black and white marble." 449. As we have above observed, the Elizabethan style is a mixture of Gothic and Italian. It is characterised by orders very inaccurately and rudely profiled; by arcades whose openings are often extravagantly wide, their height not unfrequently running up into the entablaThe columns on the piers are almost universally on pedestals, and are often banded in courses of circular or square blocks at intervals of their height; when square, they are constantly decorated with prismatic raisings, in imitation of precious stones, a species of ture. ornament which is of very frequent recurrence. Nothing like unbroken entablatures appear; all is frittered away into small parts, especially in scrolls for the reception of inscriptions, which, at their extremities, are voluted and curled up, like so many pieces of scorched leather. All these eccentricities are so concentrated in their sepulchral monuments, that no better insight into the leading principles of the style can be afforded than an example from Westminster Abbey, here given in the monument of Queen Elizabeth herself (fig. 205.). In this it will be seen that the taste is cumbrous and confused; and to add to the anomalies, the figures were coloured, and the different sorts of marbles and alabasters of numberless hues. The general composition consists in a large altar tomb under an open arcade, with a rich and complicated entablature. The columns are usually of black or white marble, of the Doric or Corinthian order. Small pyra. midal figures, whose sides were richly veneered with variously coloured pieces, disposed in ornamented squares or circles supporting globes, are of continual Occurrence. Armorial bearings in their various colours were introduced to excess. When the monument is placed against a wall, which is more usually the case, the plan was accommodated to it, and the alcove with its columns universally retained. Among the best examples are those of Ratcliffe Earl of Surrey at Boreham, and of his countess in Westminster Abbey ; of Dudley Earl of Leicester at Warwick, and of Carey Lord Hunsdon in Westminster Abbey. Fig. 205. QUEEN ELIZABETH'S MONUMENT. 450. It seems droll in this age, when throughout Europe the principles of good taste in architecture are so well understood, that fashion, induced by the cupidity and ignorance of upholsterers and decorators, -the curses of the art,- should again sanction an adoption of the barbarous forms and unmeaning puerilities which it might be supposed Jones and Wren had, by their example, consigned to a merited oblivion. We fear our warning voice will do little to suppress the rage till its cycle is completed. We have, in the prolongation of the subject, sacrificed our own feelings to the rage in the present day for designs of this class, and have assigned to it a far longer description than it deserves. The wretched cockney imitations of it perpetrated for retired shopkeepers in the insignificant villas of the suburbs of the metropolis, and occasionally for the amusement of country gentlemen a little more distant, as well as the use of what is called Gothic, appear to us in no other light than mockeries of a style which is repudiated by the manners of the nineteenth century. The style called Elizabethan we consider quite as unworthy of imitation as would be the adoption in the present day of the model of the ships of war, with their unwieldly and topheavy poops, which encountered the Armada, in preference to the beautiful and compact form of a well-moulded modern frigate. SECT. VII. JAMES I. TO ANNE. 451. The first of the reigns that heads this section has, in some measure, been anticipated in our notice of Elizabethan architecture, which it was impossible to keep altogether distinct |