possessor with notes, not on the substance of the work itself, but on its author, and anything else that could be injurious. He calls him "Iniquity Jones," and says he had 16,000l. a year for keeping the king's houses in repair. The censures were undeserved; and the accusations, unwarranted by facts, are extremely discreditable to the memory of Earl Philip.

462. The works of Jones were exceedingly numerous; many, however, are assigned to him which were the productions of his scholars. Such buildings as the Queen's house at Greenwich (much altered, and, indeed, spoiled, of late years, for the purpose of turning it into a public naval school); Coleshill, in Berkshire, built in 1650; Shaftesbury House, in Aldersgate Street; the square, as planned, of Covent Garden; and many other works, are strong proofs of the advancement of architecture during his career. York Stairs (fig. 209.), another of his examples, exhibits a pureness and propriety of character which appears to have been afterwards unappreciated by his successors, with Wren at their head, whose mention by the side of Jones is

only justified by the scientific and constructive skill he possessed.

463. Jones was a follower of the Venetian school, which we have described in a previous section. His respect for Palladio is evinced by the circumstance of a copy of that great master's works being his companion on his travels through Italy. It is filled with his autograph notes, and is now deposited in the library of Worcester College, Oxford. Lord Burlington had a Vitruvius noted by him in a similar manner. It is curious to see the amateurs and pseudo-critics of the present day decry these two authors, whom Jones, a genius of the first order, thought his best instructors. The class in question are, however, no longer considered worthy of being listened to on matters of the art; and the public taste is, in this respect, turning once more into the proper channel. Palladian architecture, thus introduced by Jones, would have reached a splendour under Charles I. perhaps equal to that which Italy can boast, had not its progress been checked by public calamities, in which it was the lot of the artist to share the misfortunes of his royal master. In addition to being the favourite of the king, he was a Roman Catholic; and for this (as it was then curiously called) delinquency, he had to pay 545l. in the year 1646. Grief, misfortunes, and a consequent premature old age, terminated the life of this great man at Somerset House on the 21st of July, 1651.

464. The plans of houses introduced from Italy by this master were not, perhaps, altogether suited to the climate or habits of the English. One of his greatest faults was that of aiming at magnificence under circumstances in which it could not be attained. Thus, his rooms were often sacrificed to the show and effect resulting from a hall or a staircase, or both; sometimes, to gain the appearance of a vista of apartments, they were made too small for the scale of the house. His distribution of windows is purely Italian, and the piers between them consequently too large, so that the light is occasionally insufficient in quantity. The habits of Italy, which enabled Palladio to raise his principal floor, and to have the farm offices and those for the vintage in the same range of building as the mansion, impart an air of great magnificence to the Italian villa. Jones saw that this arrangement was not required for English convenience, and therefore avoided the Palladian practice; "but," says Mitford, "the architects who followed him were dazzled, or dazzled their employers. To tack the wings to the centre with a colonnade became a phrase to express the purpose of plan of the most elegant effect; and the effect, provided the combination be harmonious, will be elegant; but the arrangement is very adverse to general convenience, and especially in the moderate scale of most general use. Where great splendour is the object, convenience must yield to it. Magnificence must be paid for in convenience as well as money." Webb and Carter were the pupils of Jones. The former will furnish us presently with a few remarks. During the time of the Commonwealth, the history of architecture in this country is a complete blank. We know of no public work of consequence that was designed or executed in the interregnum. On the restoration of

the monarchy, however, the art began to revive; but it was much tinctured with the contemporary French style, which Lord Burlington, on its reappearance many years afterwards, had the merit of reforming, and of bringing back the public taste to the purity which Jones had introduced: but this we shall have to notice hereafter.

465. John Webb was the nephew as well as scholar of Inigo Jones, whose only daughter he married. He built a large seat for the Bromley family at Horseheath, in Cambridgeshire; and added a portico to the Vine, in Hampshire, for Challoner Chute, the Speaker to Richard Cromwell's parliament. Ambresbury, in Wiltshire (fig. 210.), was only executed

by him from the designs of his master, as also the east side of the court of Greenwich Hospital. Captain William Winde, a native of Bergen-op-Zoom, and pupil to Sir Balthazar Gerbier, was, soon after the Restoration, in considerable employ as an architect. He built Cliefden House, Bucks, which was destroyed by fire in 1795; the Duke of Newcastle's, in Lincoln's Inn Fields; Combe Abbey, Warwickshire, for Lord Craven; and for the same peer he finished Hempsted Marshall, which had been begun by his master. But the chief and best work of Winde was Buckingham House, in St. James's Park, on whose site now stands a palace, larger, indeed, but unworthy to be its successor. It is known from prints, and not a few of our readers will probably recollect the building itself. It was erected for John Sheffield, Duke of Buckingham; and on its frieze was the inscription "SIC SITI LÆTANTUR LARES." The arrears in the payments for this house, according to an anecdote in Walpole, were so distressing, that when it was nearly finished, "Winde had enticed his Grace to mount upon the leads to enjoy the grand prospect. When there, he coolly locked the trap-door, and threw the key to the ground, addressing his astonished patron, I am a ruined man, and unless I have your word of honour that the debts shall be paid, I will instantly throw myself over.' And what is to become of me,' said the duke? You shall come along with me.' The promise was given, and the trap-door opened (upon a sign made) by a workman in the secret, and who was a party to the plot." We do not vouch for the truth of the tale.

466. An architect of the name of Marsh is said, by Vertue, to have designed the additional buildings at Bolsover, as also to have done some considerable works at Nottingham Castle; and Salmon, in his account of Essex, mentions a Doctor Morecroft, who died in 1677, as the architect of the manor-house of Fitzwalters. Of the works of the French taste about the middle of the period under discussion, a better notion cannot be obtained than from Montague House, now the British Museum (fig. 211.), the work of a Frenchman here whose example had followers; indeed, Wren himself, in some of his works, has caught the vices of the French school of the day, though he was a follower of the Venetian and Roman schools. The fire which destroyed London in 1666, a few years after the death of Jones, brought into notice the talents of Sir Christopher Wren, whose career was opened under

the reign of Charles II.

BRITISH MUSEUM.

"The length of his life enriched the reigns of several princes and disgraced the last of them." (At the advanced age of 86 he was removed by George I. from the office of Surveyor General.) "A variety of knowledge proclaims the universality, a multiplicity of works the abundance, St. Paul's the greatness, of Sir Christopher's genius. The noblest temple, the largest palace, the most stupendous hospital, in such a kingdom as Britain, are all works of the same hand. He restored London and recorded its fall." As the boast of England is the Cathedral Church of St. Paul, it will be necessary to dwell a little on a description of it.

467. The larger portion of this cathedral stands on part of the site of the old one, as shown by the annexed diagram (fig. 212.), which also exhibits their comparative sizes. It is

copied from a drawing by Sir Christopher in the library of All Souls College at Oxford. The instructions to the surveyor, according to the compiler of the Parentalia, were - "to contrive a fabric of moderate bulk, but of good proportion; a convenient quire, with a vestibule and porticoes, and a dome conspicuous above the houses:" and in conformity with them, a design was made which, from various causes, does not appear to have given satisfaction; whereon the compiler observes, that "he endeavoured to gratify the taste of the connoisseurs and criticks with something coloss and beautiful, with a design antique and well studied, conformable to the best style of the Greek and Roman architecture." The model made from this design is still preserved in the cathedral. This however was, unfor tunately, not approved, and, as our informant continues, "the surveyor then turned his thoughts to a cathedral form, so altered as to reconcile as near as possible the Gothic to a better manner of architecture." These last designs were approved by Charles, who issued his warrant under privy seal on the 1st of May, 1675, for the execution of the works.

468. Much trouble was experienced in removing the immense ruins of the old church, for the destruction whereof recourse was had to many expedients. On the north side, the foundations are placed upon a stratum of hard pot earth about 6 ft. in thickness, but not more

than 4 ft. thick on the south side; and upon this stratum, from the experience of the old church having firmly rested, the architect wisely determined to place the new one. The work was commenced on the western side, driving eastward to the extremity of the site; at which, on the northern side, a pit was discovered whence the hard pot earth had been extracted, and the vacuity so made filled up with loose rubbish. The length of this hole in the direction of the foundation was not more than 6 or 7 ft., and from the fear of piles, if driven, becoming rotten, the surveyor determined to excavate through the sand, and to build up from the stratum solid for a depth of 40 ft. The pit sunk here was 18 ft. wide; in this he built up a pier, 10 ft. square, till it rose to within 15 ft. of the present surface. At this level he introduced an arch from the pier to the main foundation, and on this arch the north-eastern quoin of the choir is founded.

469. On the 21st of June, 1675, the first stone was laid; and, within ten years, the walls of the choir and its side aisles, and the north and south circular porticoes, were finished; the piers of the dome also were brought up to the same height. The son of the architect laid the last stone in 1710. This was the highest stone on the top of the lantern. Thus the whole edifice was finished in thirty-five years, under the remarkable circumstances of having only one architect, one master mason (Mr. Strong), and the see being occupied the whole time by one bishop, Doctor Henry Compton.

470. The plan of St. Paul's is a Latin cross, and bears a general resemblance to that of St. Peter's. A rectangular parallelogram, 480 ft. from east to west (measuring from the top of the steps of the western portico to the exterior of the eastern wall of the choir), is crossed by another parallelogram, whose extremities form the transepts, 250 ft. in length from north to south. At the eastern end of the first parallelogram is a hemicylindrical recess, containing the altar, and extending 20 ft. further eastward; so that the whole length is 500 ft., exclusive of the flight of steps. At the north and south ends of the transepts are porticoes, segmental on the plan, and projecting 20 ft. The centre of the intersection of the parallelograms is 280 ft. from the western front. The width of each parallelogram is 125 ft. At the western end of the edifice, on the north and south extremities, are towers whose western faces are in the same plane as the general front, but whose northern and southern faces respectively project about 27 ft. from the walls of the aisles of the nave; so that the whole width of the western front is about 180 ft. In the re-entering angles on each side, between the towers and the main building, are two chapels, each 50 ft. long and 20 ft. broad, open to the aisles of the nave at their western end. Externally two orders reign round the building. The lower one Corinthian, standing on a basement 10 ft. above the level of the ground, on the western side, where a flight of steps extending the whole breadth of the front, exclusive of the towers, leads to the level of the church. The height of this order, including the entablature, is 50 ft.; and that of the second order, which is composite, is one fifth less, or 40 ft. ; making the total height 100 ft. from the ground to the top of the second entablature. The portico of the western front is formed with the two orders above mentioned, the lower story consisting of twelve coupled columns, and the upper one of eight; which last is surmounted by a pediment, whose tympanum is sculptured with the subject of the Conversion of St. Paul, in pretty high relief. Half of the western elevation, and the half transverse section, is given in fig. 213. At the northern and southern ends of the transepts the lower order is continued into porticoes of six fluted columns, standing, in plan, on the segment of a circle, and crowned with a semi-dome abutting against the ends of the transepts.

471. The porch of the western front is 50 ft. long and 20 ft. wide: the great doorway, being in the centre of it, leads to a vestibule 50 ft. square, at whose angles are four piers connected at top by semicircular arches, under which are placed detached coupled columns in front of the piers. The body of the church is divided into a nave and two side aisles. decorated with pilasters supporting semicircular arches; and on each side of the porch and vestibule is a passage which leads directly to the corresponding aisles. The choir is similarly disposed, with its central division and side aisles.

472. The entrances from the transepts lead into vestibules 25 ft. deep, and the whole breadth of the transept in length, each communicating with the centre by a central passage and its aisles formed between two massive piers and the walls at the intersections of the transepts with the choir and nave. The eight piers are joined by arches springing from

one to the other so as to form an octagon at their springing points, and the angles between the arches, instead of rising vertically, sail over as they rise and form pendentives, which lead, at their top, into a circle on the plan. Above this a wall rises in the form of a truncated cone, which, at the height of 168 ft. from the pavement, terminates in a horizontal cornice, from which the interior dome springs. Its diameter is 100 ft., and it is 60 ft. in height, in the form of a paraboloid. Its thickness is 18 in., and it is constructed of brickwork. From the haunches of this dome, 200 ft. above the pavement of the church, another cone of brickwork commences, 85 ft. high, and 94 ft. diameter at the bottom. This cone is pierced with apertures, as well for the purpose of diminishing its weight as for distributing light between it and the outer dome. At the top it is gathered into a dome, in the

form of a hyperboloid, pierced near the vertex with an aperture 12 ft. in diameter. The top of this cone is 285 ft. from the pavement, and carries a lantern 55 ft. high, terminating in a dome, whereon a ball and cross is raised. The last-named cone is provided with corbels, sufficient in number to receive the hammer beams of the external dome, which is of oak, and its base 220 ft. from the pavement, its summit being level with the top of the cone. In form, it is nearly hemispherical, and generated by radii 57 ft. in length, whose centres are in a horizontal diameter, passing through its base. The cone and the interior dome are restrained in their lateral thrust on the supports by four tiers of strong iron chains, placed in grooves prepared for their reception, and run with lead. The lowest of these is inserted in the masonry round their common base, and the other three at different heights on the exterior of the cone. Externally the intervals of the columns and pilasters are occupied by windows and niches, with horizontal and semicircular heads, and crowned with pediments. In the lower order, excepting modillions under the corona, the entablature is quite plain, and there are also console modillions in the upper order. The edifice, in three directions, is terminated with pediment roofs; and at the extremities, on each of those faces, are acroteria, supporting statues 25 ft. above the roof of the edifice. Over the intersection of the nave and transepts for the external work, and for a height of 25 ft. above the roof of the church, a cylindrical wall rises, whose diameter is 146 ft. Between it and the lower conical wall is a space, but at intervals they are connected by cross walls. This cylinder is quite plain, but perforated by two courses of rectangular apertures. On it stands a peristyle of thirty columns of the Corinthian order, 40 ft. high, including bases and capitals, with a plain entablature crowned by a balustrade. In this peristyle, every fourth intercolumniation is filled up solid, with a niche, and connection is provided between it and the wall of the lower cone. Vertically over the base of that cone, above the peristyle, rises another cylindrical wall, appearing above the balustrade. It is ornamented with pilasters, between which are two tiers of rectangular windows. From this wall the external dome springs. As will be seen by reference to the section, the lantern which we have before noticed receives no support from it. It is merely ornamental, differing entirely in that respect from the dome of St. Peter's.

473. The towers in the western front are 220 ft. high, terminating in open lanterns, covered with domes formed by curves of contrary flexure, and not very purely composed, though perhaps in character with the general façade.