Chapter XXXIII: Appendix: Condition of the Dome of St. Peter’s (3)

[140] _Op. cit._, bk. 8, chap. 9. The pages here are not numbered.

[141] It need hardly he said that such variety is very different from that which results from an active inventive spirit, as where in Gothic art some new constructive idea gives rise to change, or where in sculptured ornamentation a teeming fancy finds expression in varied forms.

[142] _Entretiens_, vol. 1, p. 374.

[143] But why should an architect wish to do any such thing? The fact that he did so shows again the factitious and unreasonable character of this Renaissance design.

[144] _Op. cit._, p. 375.

[145] _Essay on Building._

[146] These houses are figured by Mr. Gotch in his _Architecture of the Renaissance in England_, plates 7, 12, 20, and 66.

[147] _The Lives of the Most Eminent British Painters, Sculptors, and Architects_, London, 1831, vol. 4, p. 85.

[148] _A History of Renaissance Architecture in England_, by Reginald Bloomfield, M.A., London, 1897, vol. 1, p. 3.

[149] Almost nothing is known of John Thorpe beyond what may be gathered from his numerous drawings preserved in the Soane Museum. He was working during the latter part of the sixteenth century, and appears to have been the original designer of some of the larger houses of that time, the plans of which are contained in the Soane collection.

[150] These windows are said by Gotch, _op. cit._, vol. 1, p. 34, to have been inserted by Inigo Jones. An attic over the central bay is said to be also by him.

[151] Gotch, plate 33.

[152] Du Cerceau’s book was published in 1576, and Longford’s was begun in 1580. It is not unlikely, therefore, that Thorpe had studied the designs of Chambord and the Tuileries in the prints of this book.

[153] Gotch, plate 92.

[154] Gotch, plate 82.

[155] _Ibid._, plate 86.

[156] _Ibid._, plate 143.

[157] Vol. 2, p. 260.

[158] Cunningham’s _Lives of the Most Eminent British Painters, Sculptors, and Architects_, vol. 4, p. 71.

[159] Cunningham, _op. cit._, p. 76.

[160] A work undertaken at the request of the king, in which Jones reaches the astonishing conclusion that in Stonehenge we have the remains of a Roman temple of the Tuscan order. Cf. Cunningham, p. 106 _et seq._

[161] Cunningham, _op. cit._, p. 115.

[162] Cunningham, _op. cit._, vol. 2, p. 266.

[163] _The Designs of Inigo Jones, consisting of Plans and Elevation for Publick and Private Buildings_, by William Kent, London, 1727.

[164] Plates 1 to 52 inclusive.

[165] _Op. cit._, p. 265.

[166] _A History of Renaissance Architecture in England_, by Reginald Bloomfield, London, 1897, vol. 1, p. 122.

[167] _Parentalia, or Memoir of the Family of the Wrens_, by Christopher Wren, London, 1750, pp. 269–270.

[168] _Parentalia_, p. 142.

[169] _Parentalia_, pp. 261–262.

[170] Wren had been appointed surveyor-general and principal architect of the city of London after the great fire.

[171] _Parentalia_, p. 335.

[172] _Ibid._, p. 273.

[173] _Ibid._, p. 277.

[174] _Parentalia_, p. 278.

[175] _Ibid._, p. 281.

[176] _Parentalia_, p. 283.

[177] W. J. Loftie, _Inigo Jones and Sir Christopher Wren_, London, Macmillan & Co., 1893, p. 196.

[178] _A Complete Body of Architecture_, by Isaac Ware, Esq., London, 1768.

[179] _Op. cit._, p. 131.

[180] _Lettera di Filippo Baldinucci intorno al modo di dar Proporzione alle Figure in Pittura e Scultura_, Leghorn, first published in 1802.

[181] _Op. cit._, p. 10.

[182] _Architettura Italiana_, Milan, 1887, vol. 2, p. 140.

[183] The letters in this description refer to those of the illustration (Fig. 30) in the text.

Transcriber’s Notes:

1. Obvious printers’, punctuation and spelling errors have been corrected silently.

2. Hyphenation has been rationalised. Inconsistent spelling (including accents) has been retained.

3. Some hyphenated and non-hyphenated versions of the same words have been retained as in the original.

4. Superscripts are represented using the caret character, e.g. D^r. or X^{xx}.

5. Italics are shown as _xxx_.