It was only by very slow degrees that the Renaissance style was introduced into England, native architects and those for whom they worked having clung with almost pathetic devotion to the traditions of the past. At the end of the 15th century the Gothic style was still in full vigour on this side of the Channel, and although early in the 16th century it was to a great extent modified by the influence of the foreign artists who were attracted to the court of Henry VIII by the lavish patronage of the young monarch, it continued to the end of the century to check the development of pure Renaissance, the two styles to a great extent neutralising each other.
It is significant of the change of the attitude of rulers and ruled towards religion that took place in England during the 16th and 17th centuries, that it was no longer in churches and cathedrals that architecture achieved its greatest triumphs, but in palaces, manor-houses, colleges, and places of public entertainment. No longer was the soaring Gothic style to voice in stone the aspirations of worshippers for closer intercourse with the divine; the best energies of architects were henceforth to be directed to the promotion of comfort and luxury in private life, and for the realisation of this comparatively ignoble aim the revived classic style was peculiarly adapted. True, the spirit of the Renaissance did not display itself so fully in architecture as in other branches of human endeavour, but for all that its working was very apparent, assuming a certain character of its own in England.
First Italians, amongst whom the most distinguished were Torregiano, designer of the tomb of Henry VII in Westminster Abbey, Giovanni da Majano, and Giovanni da Padua, the architect of Longleat in Wiltshire, then Flemings and Germans, none of whom, however, except John of Cleves, designer of Caius College, Cambridge, rose to any special eminence, endeavoured to graft their own upon English methods, succeeding with rare exceptions only so far as the minor details of ornamentation were concerned.
It is not to these men of alien birth but to the builders and masons of rural England that the country owes the many noble residences, dating from the late 16th and early 17th centuries, that, Gothic so far as their principles of construction are concerned, are enriched or spoiled, according to the point of view from which they are considered, by Renaissance ornamentation. Amongst these builders Thomas Holt, author of the Divinity School of Oxford, and Robert Smithson and John Thorpe, joint designers of Wollaton Hall, Northamptonshire, were especially distinguished. To the last named many critics also attribute Holland House, London, Rushton, Kirkby and Apethorpe Halls in Northamptonshire, and Knowle House in Kent, all of which are truly typical examples of English 16th or early 17th domestic or academic architecture at its best. To about the same period belong Lilford Hall, Northants, Westwood, Bolsover, Charlton, and Hatfield Houses, all somewhat wanting in the dignified simplicity of plan of the work of the men quoted above, but with an undoubted charm of their own.
The master-builders who alike designed and executed the many beautiful mansions and colleges of the Elizabethan age—with whom must be associated the later John Abel, designer of several fine market-halls, including those of Kingston, Hereford, and Leominster—may justly be said to have paved the way for Inigo Jones, the first Englishman to introduce pure Renaissance architecture into his native land. Already before his advent these humble predecessors had partly evolved, out of the mediæval castle and the mediæval cottage, what was to become the typical English home, bringing about something like a revolution in planning by the innovations introduced by them with a view to admitting more air and light, and rendering access to the upper floors easier by the substitution of an internal staircase, for the external flight of steps leading up to each separate room hitherto the fashion.
Gifted with a vivid imagination and a rare faculty of design, Inigo Jones succeeded in so adapting Italian ideals, especially those of Palladio, to English needs, that he may justly be said to have founded something approaching to a national style. Unfortunately few of the many schemes evolved by him were carried out in their entirety, but his plans and drawings prove him to have been the equal and, in some respects, even the superior of his great successor, Sir Christopher Wren. Of his grand design for the new Palace of Whitehall after the fire of 1619, the Banqueting Hall, considered his masterpiece, alone was completed, but he was the real architect of the equally successful Greenwich Hospital, for it was his plan that was followed after his death by Wren.
Although it is the custom to dwell much on the unique opportunity afforded to Sir Christopher Wren by the great fire of 1666, there is no doubt that even without it he would have set his seal on the period during which he lived. His additions to Hampton Court Palace are most dignified and appropriate, his semi-Gothic Tom Tower at Oxford well illustrates his keen sense of environment, and his design for a Royal Palace at Winchester, had it been carried out, would have given to that city a building worthy to rank with its cathedral. As it is, his fame rests chiefly on his work in London, although the masterly scheme he drew up for the rebuilding of the whole town had to be considerably modified.
S. Paul's Cathedral, that dominates the vast agglomeration making up the modern capital, reflects, in its solemn and dignified beauty, almost as clearly as did a mediæval ecclesiastical Gothic edifice, the spirit of its age, during which the Puritan replaced the Roman Catholic ideal, and a rigid Protestantism became the religion of the people. Of noble and most harmonious proportions, S. Paul's is cruciform in plan, every portion of its exterior and interior subordinated to the great central dome, that, consisting as it does of an outer and inner vault, is equally impressive whether seen from within or from without. From whatever point of view, the dome, with its graceful lantern surmounted by a cross, remains the central feature of a structure at unity with itself, consistent in every detail, the western towers and the great central portico with their appropriate classic pilasters and columns all being in complete and satisfying accord.