ClIAl-. III.

JAMES I. TO ANNE. 205

from tlie following reign. The angular and circular bay windows now disappeared entirely,
and were sujjplanted by large square ones, of very large dimensions in tbeir height,
unequally divided by transoms, and placed in lengthened rows, so as to form leading
features in the several stories of the building. Battlements were now entirely omitted,
and the general effect of the pile became one of massive solidity, broken by a square turret
loftier than those at the angles. The houses built in the reign of James I. are deficient in
the picturesque beauty found in those of his predecessors. ^lany of them were finished by
the architects named in the last section, and they were on a larger scale than even those of
the age of Elizabeth. Audley Inn in 1616, Hatfield in 1611, and Charlton House in
Wiltshire for Sir Henry Knevett, were, perhaps, the best specimens. The house at
Campden, Gloucestershire, built by Sir Baptist Hickes, and whicii was burned down during
the civil wars, consisted of four fronts, the principal one being towards the garden, upon the
ground terrace ; at each angle was a lateral projection of some feet, with spacious bay
windows; in the centre a portico, with a series of the columns of the five orders (as in the
schools at Oxford), and an open corridor. The parapet was finished with pediments of a
capricious taste, and the chimneys were twisted pillars with Corinthian capitals. A very
capacious dome issued from the roof, which was regularly illuminated for the direction
of travellers during the night. This immense building was enriched with friezes and
entablatures, most profusely sculptured ; it is reported to have been erected at the expense
of 29,000/., and to have occupied, with its offices, a site of eight acres."
452. The use of the orders became more general. In Glamorganshire, at Beaupre
Castle (1600),
which has a front and porch of the Doric order, we find a composition in-
cluding that just named, the Ionic and the Corinthian, wherein the capitals and cohnnns
are accurately designed and executed. The following table exhibits some of the principal
houses of the period :

House. Date. County. Founder.

Present
State.
Architect.
Holland House
-
1607
Middlesex
-
Sir Walter Cope
-
Perfect J. Thorpe
(?)
Bramshill - 1607-12 Hants Edward Lord Zouche
-
do. Uncertain
Castle Ashbv 1625-35 Northmptn. Herbert Lord Compton do. (lo.
Summer Hill 1624 Kent Earl of Claiiric.irde do. J. Thorpe
(?)
Charlton - 1615(?)
Wilts Sir Henry Knevet Kestored Uncertain
Hatfield - 1607-12 Herts Robert Earl of Salisbury Perfect do.
Longford Castle
- 1691-1612 Wilts Sir T. Gorges do. do.
Temple Newsham 1612-19 Yorkshiie
-
Sir Arthur hmram do. do.
Charlton, Great
-
1607-12 Kent Sir Adam Newton do. do.
Bolsover 1607-18 Derby Sir Charles Cavendish
j
Dilai)i-
dated
i Huntingdon
^
Smithson
.\udley Inn 1610-16
(1580)
1 1588)
Essex r. Earl of Suffolk Perfect B. Jansen
J. Thorpe
(?),
Wolhiton - Notts Sir Francis Willoughby do. R. and H.
(
Smitlison
453. Under James, the pride and magnificence of the aristocracy was as equally dis-
played in the sumptuous monuments erected to the memory of the departed as in their
statelv palaces; and we can scarcely point to a county in England whose parish churches
do not attest the fact by the gorgeous tombs that exist in villages where the mansions of
those thus commemorated have not long since passed from the memory of man. A year's
rental of an estate, and that frecjuently under testamentary direction, was often squandered
in the sepulchral monument of the deceased lord of a manor.
454. In the reign of James I. properly commences the career of Inigo Jones, to which
we hasten with delight, as indicating the dawn of true architecture (for the Gothic had irre-
trievably passed away) in England. It resembles the arrival of a traveller at an oasis in the
desert, after a parching and toilsome journey.
"
Jones, if a table of fame," says Walpole,
"
like that in the Tatler, were to be formed for men of real and indisputable genius in
every country, would save England from the disgrace of not having her representative
among the arts. She adopted Holbein and Vandyck, she borrowed Rubens, she produced
Inigo J. nes Vitruvius drew up his grammar, Palladio showed him the practice, Rome
displayed a theatre worthy his emulation, and King Charles was ready to encourage,
employ, and reward his talents. This is the history of Inigo Jones as a genius." Gene-
rally speaking, we are not admirers of Walpole, who often sacrificed truth to fancy, and the
character of an artist to a prettily-turned period ; hence we are disinclined to concur in his
criticisms without many qualifications; but in this case he has so well expressed our own