Fig. 42.—ELEVATIONS OF A HOUSE, by Inigo Jones.
From the Burlington-Devonshire Collection at the Royal Institute of British Architects.
In addition to the direct evidence which goes to show that Jones was not the designer of the palace at Whitehall, there is the evidence of such architectural drawings as are either actually signed by him, or such as can almost certainly be attributed to him. All told, these amount to comparatively few, and they exhibit curious inconsistencies. Some are almost puerile, although drawn when he was mature in years. Others (and these are more numerous) are strong, simple, and noble, full of restraint, and depending chiefly upon proportion for their effect (Fig. [42]). They are large in scale, and are mainly drawn with a free hand. Indeed it is characteristic of Jones to draw to a large scale and with little aid from instruments. He appears to have been impatient of petty details, and it is extremely doubtful whether he could have brought his wide-sweeping hand down to the working out of a complicated plan on the small scale actually employed in the Whitehall drawings.[31]
In the collections of earlier date, John Thorpe’s and Smithson’s, the bulk of the drawings may safely be attributed to Thorpe and Smithson respectively; which makes the absence of drawings by Jones all the more remarkable. And it must be remembered that although there are few architectural drawings by him there are many of other kinds, notably of the scenery for masques and of the human figure.[32] Indeed, to judge only by his drawings one would regard him as a painter rather than an architect. His surviving architectural drawings may be reckoned by dozens; those for masques, figure studies, and drapery by hundreds. His figure studies and drapery are executed with great vigour and a masterly touch. His sketches for the numerous masques, of which he designed the setting, are spontaneous and bold (Fig. [43]). Many of them have an architectural character, and, needless to say, the architecture is always classic in style. There is one, however, which represents a scene near London; the wings are composed of old houses, the backcloth is a distant view of London itself with old St Paul’s as the principal feature.[33] It is interesting to see that the houses in the foreground are Jacobean in treatment, yet Jacobean with a larger infusion of classic detail than houses of the period actually exhibited. The artist’s hand instinctively sought a classic expression.
Fig. 43.—Masque by Inigo Jones.
From the Burlington-Devonshire Collection at the R.I.B.A.
Jones, indeed, designed most of the masques presented at court during the reigns of James I. and his son, and collaborated with several of the different poets who wrote the words of these fanciful plays; with Ben Jonson, Samuel Daniell, Thomas Campion, George Chapman, and Aurelian Townshend. One of his efforts was less successful than could have been wished, although it was for an occasion when expectation was particularly high—the masque on Twelfth Night 1618, when the prince was to take a part for the first time. Gossiping letters dubbed it poor, said that Inigo Jones had lost reputation, and that it was indeed so dull that the poet, Ben Jonson, ought to return to his old trade of brick making.[34]
But in spite of the gossips Jones was a skilful scene-painter, and owed much of his facility in the art to the months he had spent in Italy conversing, as he says, with the great masters in design. To him we owe the first introduction of movable scenery into English theatres. He was also a practical surveyor of some ability; already in 1613 he had been appointed surveyor of his majesty’s works, and although in those days it was not necessarily a practical man who was appointed to such a post, yet a clever man, even if ill-equipped at first, would soon acquire experience. The State Papers show that he was kept busy with the duties of his office, duties which included many matters of dull routine. It is perhaps worthy of note that in matters requiring detailed reports and estimates he was generally commissioned along with one or two others who may (or may not) have had more practical knowledge than himself. It is also interesting to find that in several cases where repairs or alterations were under consideration, special stress was laid in the reports upon the probable result on the beauty of the buildings they affected. This particular and uncommon touch may certainly be credited to Jones.
In order fully to understand the subject of the so-called Inigo Jones drawings and their influence on English architecture, it will be advisable to set out again what and where they are.