122 NEW STYLE IN CEILING DESIGN 



In any case, and whoever designed it, the detail of the work 

 is of interest as showing the departure from Jacobean ideals. 

 The staircase, it is true, retains the solid newels, the massive 

 handrail, and the stout balusters hitherto in vogue (Fig. 73) ; 

 but the ornament has changed, and the balusters are almost as 

 stout as if intended to be of stone. The panels on the wall are 

 larger in size and in scale than those of Jacobean design, and 

 they are marshalled with more pomp. The ceiling has no- 

 affinity with the busy and intricate ceilings of the departing 

 style. The framework is large, and its members are adorned 

 with foliage in high relief; the open cupola, with its balustrade 

 and detached columns, is a new idea in English work (Fig. 74). 

 If it was executed between 1629 and 1640, it would be the first 

 example of its kind ; if between 1662 and 1672, it would have 

 had predecessors among the drawings of Jones and Webb. It 

 is perhaps worthy of note that in Jones's designs of ceilings the 

 ornament is usually confined to the ribs, the intermediate spaces 

 (that is, the ground of the ceiling itself) being plain. Here the 

 ground is covered with foliage as well as the ribs, and curiously 

 enough, those of Jones's designs which include cupolas are 

 similarly treated. His drawing for the " cieling of y e passage 

 Roome in to y e Garden " (at Wilton) is illustrated in Fig. 75,. 

 and Webb's drawing " ffor y e Seeling of y e Cabinett Roome, 1649, 

 Wilton," in Fig. 76. Although the perspective treatment of 

 the cupolas is a somewhat special feature, the general design 

 of these and of that at Ashburnham House gives a good idea 

 of the manner in which ceilings of the period were managed. 



Another and more ambitious design for a ceiling by Webb is 

 that for "his Majesty's Presence at Greenwich, 1666" (Fig. 77), 

 preserved at the Royal Institute of British Architects. The outer 

 border represents a bold cove filled with modelled plasterwork 

 in high relief; the four angles are occupied by lions and unicorns,, 

 emblematic of England and Scotland. If this design was ever 

 carried out, it has disappeared, and there is no example to be 

 found of modelling treated on so large a scale ; the cove would 

 have been some eight feet on the curve, and the effect of its 

 plaster ornament would have been rather overwhelming. 



Returning to the consideration of staircases, there is one at 

 Can Court, in Wiltshire (Fig. 78), which is earlier in feeling, if not 

 in date, than the Ashburnham House staircase. It retains many 

 of the characteristics of Jacobean work, particularly in the stout- 



