of the gallery and other important rooms in which strap-work is found. Among the finer examples of ceilings of early date are those of Knole, Kent; Haddon Hall, Derbyshire; Sizergh Hall, Westmorland; South Wraxall Manor House, Wiltshire; the Red Lodge, Bristol; Chastleton House; and Canons Ashby—in the last three with pendants. Two of the best-designed ceilings of modest dimensions are those of the Reindeer Inn at Banbury and the Star Inn at Great Yarmouth. The principal decorative feature of the reception rooms was the chimney-piece, rising from floor to ceiling, in early examples being very simple—as those at Broughton House and Lacock Abbey—but at a later date overlaid with rococo strap-work ornament and misshapen figures, as at South Wraxall and Castle Ashby. One of the most beautiful chimney-pieces is in the ballroom at Knole, probably of Flemish design, but at Cobham Hall, Hardwick, Hatfield and Bolsover Castle are fine examples in which different-coloured marbles are employed, there being a remarkable series at the last-named place.
The long gallery has already been incidentally mentioned. Its origin has never been clearly explained; it was generally situated in an upper storey, and may have been for exercise, like the eaves galleries in Spain. The dimensions were sometimes remarkable; one at Ampthill (no longer existing) was 245 ft. long; and a second at Audley End, 220 ft. long and 34 ft. wide. Of moderate length, the best known are those of Haddon Hall, with rich wainscotting carried up to the ceiling, Hardwick, Knole, Longleat, Blickling Hall and Sutton Place, Surrey.
In early work the staircases were occasionally in stone with circular or rectangular newels, but the more general type was that known as the open well staircase, with balustrade and newels in timber. Of these the more remarkable examples are those at Hatfield; Benthall Hall, Shropshire; Sydenham House, Devonshire; Charterhouse, London; Ockwells Manor House, Berkshire; Blickling, Norfolk; and the Old Star Inn at Lewes, Sussex.
One of the important features in the old halls was the screen separating the hall from the passage, over the latter being a gallery; the front of the screen facing the hall was considered to be its chief decoration, and was accordingly enriched with columns of the Classic orders, and balustrade or cresting over. The screens of Charterhouse (London), Trinity College (Cambridge), Wadham College (Oxford), and the Middle Temple Hall (London), are remarkable for their design and execution. The great hammer-beam roof (1562–1572) in the last named is the finest example of the Renaissance in existence (see Roofs, Plate I., fig. 25).
With the exception of chantry or other chapels added to existing buildings, there was only one church built in the period we are now describing, St John’s at Leeds. This church is divided down the centre by an arcade of pointed arches, virtually constituting a double nave, and the rood-screen is carried through both. The window tracery and the arcade show how the master-mason adhered to the traditional Gothic style, but the rood-screen, notwithstanding its rococo decoration, is a fine Jacobean work, eclipsed only by the magnificent example at Croscombe, which, with the pulpit and other church accessories, dating from 1616, constitutes the most complete example of that period.
The pure Italian style, as it is sometimes called, was introduced into France probably by Serlio, and the result of its first influence is shown in the Louvre, begun in 1546. It entered Spain about 20 years later, under the rule of Philip II., and Germany about the same time, creating about Inigo Jones. 100 years later a reaction in Spain in favour of a less cold and formal style, and scarcely taking any root in Germany. In England its first appearance does not take place till 1619, when Inigo Jones, after his second visit to Rome, designed an immense palace, measuring 1150 ft. by 900 ft., of which the only portion built was the Banqueting House in Whitehall (Plate VI., fig. 75); a fine design, in which the emphasizing of the central portion by columns in place of pilasters is an original treatment not found in Italy, but of excellent effect. Unfortunately many subsequent designs of Inigo Jones were either not carried out or have since been destroyed; but nothing approached this admirable work in Whitehall.
Among his buildings still remaining are St Paul’s, Covent Garden (1631), a simple and massive structure which requires perhaps an Italian sun to make it cheerful; York Stairs Water-gate (1626); the front of Wilton House, near Salisbury (1633); the Queen’s House, Greenwich (1617), a very poor design; Coleshill, Berkshire; Raynham Park, Norfolk, with weakly-designed gables and an entrance doorway with curved broken pediment, which can scarcely be regarded as pure Italian; and Ashburnham House, Westminster (the staircase of which is extremely fine), carried out after his death by his pupil John Webb, who, at Thorpe Hall, near Peterborough (1656), shows that he possessed some of his master’s qualities in his employment of simple and bold details.
Sir Christopher Wren, who follows, was by far the greatest architect of the Italian school, though curiously enough he had never been in Italy. His first work was the library of Pembroke College, Cambridge (1663–1664), followed by the Sheldonian theatre at Oxford, in the construction of Wren.the roof of which, with a span of 68 ft., he showed his great scientific knowledge. In 1665 he went to Paris, where he stopped six months studying the architectural buildings there and in its vicinity, and where he came across Bernini, whose designs for destroying the old Louvre (fortunately not carried out) were being started. On his return Wren occupied himself with designs for the rebuilding of the old St Paul’s, but these were rendered useless by the great fire of the 22nd of September 1666, which opened out his future career. His plan for the reconstruction of the city was not followed, owing to the opposition of the owners of the sites, but he began plans for the rebuilding of the churches and of St Paul’s cathedral. In his treatment of the former, where he was obliged to limit himself to the old sites, often very irregular, and in most cases to the old foundations, he adopted, perhaps quite unconsciously, one of the principles of ancient Roman architecture, and made the central feature the key of his plan, fitting the aisles, vestries, porches, &c., into what remained of the site; this central feature varied according to its extent and proportions, and sometimes from a desire to work out a new problem. The central dome was a favourite conception, the finest example of which is that of St Stephen’s, Walbrook (1676); other domed churches are St Mary-at-Hill, St Mildred’s, Bread Street, St Mary Abchurch (1681), where the dome virtually covers the whole area of the church, and St Swithin’s, Cannon Street, an octagonal example. In St Anne and St Agnes, Aldersgate, the crossing is covered with an intersecting barrel vault; and in this small church, about 52 ft. square with four supporting columns, he manages to get nave, transept and choir with aisles in the angles. In those churches where there was sufficient length, the ordinary arrangement of nave and aisle is adopted, with an elliptical barrel vault over the nave, sometimes intersected and lighted from clerestory windows, the finest example of these being St Bride’s, Fleet Street; other examples are St Mary-le-Bow (Cheapside), Christchurch (Newgate) and St Andrew’s (Holborn). In St James’s, Piccadilly, of which the site was a new one, the plan of nave and aisles with galleries over, and a fine internal design with barrel-vaulted ceiling, was adopted; the exterior is very simple, which suggests that Wren attached much more importance to the interior. It should be pointed out that in all these cases, the vaults, to which we have referred, were in lath and plaster, and consequently covered over with slate roofs, and as a rule the exteriors (which are rarely visible) were deemed to be of less importance. This is, however, made up for by the position selected for the towers, and in their varied design those of St Mary-le-Bow, St Bride’s (Fleet Street) and St Magnus (London Bridge) are perhaps the finest of a most remarkable series.
The foundation stone of St Paul’s cathedral was laid in 1675, and the lantern was finished in 1710. The silhouette of the dome (Plate II., fig. 66), which is, of course, its principal feature, is far superior to those of St Peter’s at Rome, or the Invalides or Panthéon at Paris, and the problem of its construction with the central lantern was solved much more satisfactorily than in any other example. Wren realized that the attempt to render a dome beautiful internally as well as externally could only be obtained by having three shells in its construction; the inner one for inside effect, the outer one to give greater prominence externally, and the third, of conical form, to support the lantern.
In plan, Wren’s design (fig. 53) was in accordance with the traditional arrangement of an English cathedral, with nave, north and south transepts and choir, in all cases with side aisles, and a small apse to the choir. The great dome over the crossing is, like the octagon at Ely, of the same width as nave and aisles together. It resembles the plan of that cathedral also in the four great arches opening into nave, transepts and choir, with smaller arches between. Instead of the great barrel vault of St Peter’s, Rome, Wren introduced a series of cupolas over the main arms of the cathedral, which enabled him to light the same with clerestory windows; these are not visible on the exterior, as they are masked by the upper storey which Wren carried round the whole structure, in order, probably, to give it greater height and importance; by its weight, however, it serves to resist the thrust of the vaults transmitted by buttresses across the aisles. The grouping of the two lanterns on the west front