PLAN AND ELEVATION OF THE PORTICO OF OLD ST. PAUL'S. The Plan of the Portico of St. Martin's Church is drawn within, in order to give an idea of the scale.

the exception of Vanbrugh and his followers, the general character of our innumerable mansions of the seventeenth and eighteenth centuries is that of a tame imitation of the Palladian school.

Inigo has, nevertheless, left us a few buildings of a different character, and those not only among his early works. The addition he made to St. John's College at Oxford, begun as late as 1631, is in a semi-Gothic style. But even in this the mind of the master is conspicuous. It is entirely free from the quaint ugliness with which our architecture of this class had been infected by the Dutch school, and there is a harmony in the proportions and distribution of the ornament (in the garden front especially) which, though it might be difficult to analyze, is irresistibly attractive to the eye. In Heriot's Hospital at Edinburgh he has effected a most mas

for attaching a classical portico to a Gothic church. | verted into a totally different channel; and, with But though the solecism be indefensible, it was not without reason that the architect himself considered this portico as the greatest of his works, and that upon which he depended for the perpetuation of his fame to future ages. Setting aside the sumptuousness of the materials which the ancients had at command, imperial Rome could have boasted of few porticoes by which it was surpassed, and modern Europe has certainly produced none to equal it. It was not, however, for mere idle effect, or from the poverty of imagination which has garnished so many façades with gratuitous porticoes, that this structure was appended to the cathedral. It had its motive, being designed for an ambulatory in place of the nave of the church, which had long formed a place of public resort under the name of Paul's Walk. A dry plan and elevation are the only record by which we can judge of this great work; but when we consid-terly adaptation of the national architecture. er the place occupied by the portico in proportion to the whole front, its bold projection, and the distance to which the point of sight for a general view of it must have been limited (pressed upon as St. Paul's was by the surrounding buildings even after all that had been done to disencumber it), it is not difficult to approach it in imagination, and to view it with the mind's eye casting into the background every discordant object connected with it, and standing forth in single majesty like the pronaos of a Greek temple. Inigo Jones may not, after all, have been so totally devoid of judgment as some of his commentators have assumed, and he perhaps dreamed of a future period when the church would have been better assimilated to his portico.

The foundation of Whitehall may be considered as the point of division between the ancient and modern architecture of England. As the court architect, Inigo became the fashion; and among the mansions of the nobility which continued to rise until the general wreck of the civil war, there are few of any importance upon which he or his scholar Webb were not engaged. His works are numerous and widely scattered, and it is not much to the credit of his country that they have never been collected and illustrated. Kent, the architect, published some of his drawings in a book already referred to; a few of his works are engraved in Ware's Architecture, and others are very indifferently represented in Campbell's Vitruvius Britannicus. Among the best known by these means may be mentioned the gallery of Old Somerset House, Coleshill, in Berkshire, Stoke Park, the Royal House at Greenwich, the additions to Wilton, Cobham, and Castle Ashby; and Gunnersbury and Amesbury, completed from his designs, by Webb. In this particular class of architecture his example has had a leading and lasting influence on English art. He at once obliterated all traces of our national style. Of the very few of his successors who can lay any claim to originality, the talents of Wren were di

1 Castle Ashby has just been illustrated in Robinson's new Vitruvius

While on the subject of Inigo Jones, his researches on the origin of Stonehenge are too curious to be passed without notice. The investigation of this singular monument was imposed upon him by King James. "A man who once resolves upon ideal discoveries," says Dr. Johnson, "seldom searches in vain." The accomplished courtier no doubt fulfilled the anticipations of the royal pedant, when he discovered Stonehenge to be a Roman temple dedicated to Cœlus! How far he was a believer in his own discovery may be doubted, since it was suffered to remain between himself and his master, until Webb did him the doubtful service of disclosing it to the public after his death. Whatever his theory may be worth, he displays a boundless store of knowledge and reading in support of it, and his survey and report upon the monument itself are a model for professional documents of the kind. The theory was impugned by Dr. Charleton, and vindicated by Webb, in a folio volume, valuable for the memoirs of his illustrious father-in-law which are scattered through its pages.

Inigo Jones lived to fall upon evil days in his old age. He died in 1652, broken down with grief. leaving behind him a reputation which it is the lot of few to attain, since his claim to a place in the foremost rank of art has never been disputed. In less important works of architecture the change of style was of course more gradual, but it was, nevertheless, in progress; and had not the opportunity been lost in the adverse currant of public affairs. the talents of Inigo Jones might probably have placed the style of our ordinary domestic buildings on a more creditable footing than it has ever been des tined to attain. The style of Covent Garden is at once striking and economical; but, with the excep tion of the arcade, scarcely a trace of its original aspect remains. During the reigns of Elizabeth and James I., the danger and inconvenience arising from the almost exclusive use of timber in the streets of the metropolis had engaged the attention of the government, and repeated proclamatious were issued on the subject. But as these proclamations were

Britannicus, a work in which several of our ancient mansions are rep-chiefly directed to prevent the erection of new build

resented in detail, and to which we are indebted for the view of the gallery at Hardwicke, engraved in vol. ii. p. 820.

ings in London and the suburbs, upon such grounds,

as that the increase of the city might draw the in- | preceded, it produced little effect, in spite of the habitants from other cities, or collect more artisans censures of the Star Chamber, until 1614, when, together than could live, or cause a dearth of pro- examples having been set of the new mode of buildvisions, or trouble in governing such multitudes, it ing in some houses of note, vigorous measures were is not surprising that they were issued in vain, and taken to enforce it, and some of the citizens who with them some useful regulations fell to the ground. had erected new houses of timber were compelled In 1605 a new proclamation was issued, and re- to demolish them. Of the earliest modern brick peated in 1607, commanding brick or stone to be buildings in the metropolis a specimen still remains, used in all street fronts; but like those which had in 1839, in Great Queen-street, Lincoln's Inn Fields,

devotion is personified in this unpretending figure-work must certainly be due to the artist. This the very hands are eloquent. Lord Norris died in 1601, but this monument was executed some years later.

Nicholas Stone was the sculptor most in vogue. He was master-mason to the king, and was employed at the Banqueting-House under Inigo Jones. He executed a great number of monuments, which are to be identified by an account he has left of them in his own handwriting. His works are by no means above the general level of the period as works of art, though he sometimes takes an ambitious flight, as in the monument of Sir George Hollis, at Westminster, a very humble imitation of the tombs in the Medici Chapel at Florence. They are, however, remarkable for the transition they display from the ancient to the modern style of monumental composition. Sutton's tomb at the Charter House, designed in conjunction with Bernard Jansen, a Dutch architect, in 1615, is of the former class, and may be contrasted with that of Sir Dudley Carleton, Lord Dorchester, at Westminster, executed in 1649, in the style of which he has evidently beer influenced by his connection with the great architect, and in which he has generalized the costume by the folds of the baronial robe. Stone's best work is the statue of Sir Francis Hollis, youngest son of the Earl of Clare, also at Westminster, which is so far superior to his own general taste and that of the age, that Walpole supposes the design to have been suggested by the earl himself; but, however this may be, the graceful pose of the figure and the high finish of the

and other statues by Stone are among the earliest examples of the adoption of the Roman costume, which became so grossly abused in the arts at a later period. Stone died in 1647, leaving two sons, who never attained the reputation of their father, though they visited Italy and studied under Bernini.

During the reign of Charles I. several foreign sculptors of reputation came to share the patronage which was so freely dispensed in England to the professors of the arts. François Anguier and Ambroise du Val were natives of France, and were extensively employed in monumental sculpture; but for the reason before mentioned it is difficult to identify their works. Hubert le Sœur was an artist of a much higher grade. He was a pupil of John of Bologna, and the first sculptor we had who successfully practiced in the highest branches of the art. He arrived about 1630, and executed many works in bronze, of which the beautiful equestrian statue of his royal patron at Charing Cross remains to perpetuate his fame in the metropolis. It was, of course, condemned to destruction by the parliament: but the brazier to whom it was sold for the value of the metal, upon the express condition that he should break it up, concealed it until the Restoration, and it was placed in its present situation about 1678. This worthy tradesman (whose name was John Rivet) is said to have reaped a considerable profit by the sale of toys supposed to be manufactured from the materials of this statue, which were readily purchased as relics by the royalists. Francesco Fanelli, a Flor

entine, was also a sculptor in metal, but greatly in- | name is affixed to them. The earliest English ferior to Le Sœur.

copper-plate engraver known by name is Thomas Charles wished to possess a bust of himself by Geminus, who executed the plates for another medBernini, who at this time enjoyed the greatest rep- ical book about the end of Henry VIII.'s reign. utation, both as a sculptor and architect, of any Before the end of the sixteenth century the Enartist in Europe. For this purpose Vandyke paint-glish engravers had attained sufficient reputation ed the well-known picture in which the king is represented in three views. It is said that Bernini, on receiving the picture, was struck with the physiognomy of Charles, which he pronounced to be that of a man doomed to misfortune. The bust of Denbighshire. Ortellus himself speaks in high was executed, but what became of it is not certainly known.

to be engaged in foreign countries. Some of the plates for Abraham Ortelius's "Theatrum Orbis Terrarum," published at Antwerp in 1570, were executed by Thomas Geminus, and Humfrey Lluyd

terms of the English engravers, and, besides the above-mentioned, has recorded the names of AnWe must now enter upon the consideration of tony Jenkinson, who flourished in 1562, and Robert another department of the fine arts upon which we Leeth." Engraving," observes Walpole, "was in have not hitherto had occasion to touch, but in no contemptible condition in England when we had which England has confessedly borne away the professors worthy of being employed to adorn honors from all Europe-engraving. So little was Flemish editions. Flanders was at that time a capdone in this art in England previously to the seven-ital theater of arts and learning." Ralph Aggas is teenth century that Vertue professedly begins his Catalogue of Engravers from the year 1600; but a few facts, and the names of several artists who engraved both on wood and copper at an earlier date, are worthy of notice in an historical point of view. Indeed we had engraving as early as printing, since the earliest English printers introduced small plates for their devices, and Caxton's Golden Legend, published in 1483, has many cuts dispersed through the body of the work. The first book that appeared with copper-plates was a medical book published by Thomas Raynalde, in 1540; but no engraver's

VOL. III.-36

1 See ante, p. 105.

famous for his plans and views, especially his great plan of London, executed in the reign of Elizabeth; and to Christopher Saxton we are indebted for the first publication of county maps. George Hoefnagle, Theodore de la Brie, and Elstracke are the most celebrated of the foreigners who flourished here during the same period.

Early in the seventeenth century Crispin Pass, of Utrecht, settled in this country and executed numerous plates. There were several artists of this name, and of the same family, who all engraved with great neatness, one of whom, Simon Pass, was the master of John Payne, the first English