A mantel by Inigo Jones who, early in the 17th 
century, was the leading figure in English 
architecture 
A panel by Sir Christopher Wren, 
that is cold and hard, lacking the 
charm of Gibbons’ work 
The reredos of Trinity College, Oxford, showing 
two common carved decorations, one where 
the modeling is applied in a light color 
The Real Meaning and Use of Architectural Detail 
II. THE ENGLISH RENAISSANCE—THE WORK OF, INIGO JONES, SIR CHRISTOPHER WREN, GRINLING 
GIBBONS AND THE BROTHERS ADAM—A PERIOD DIRECTLY BACK OF OUR OWN COLONIAL WORK 
by Louis Boynton 
[A series of articles by prominent architects appeared in this magazine last year. In it the characteristics of the more common architectural styles, 
used for country houses, were outlined and explained. Another matter of great importance to those who would build consistently is the detail. Mr. 
Boynton’s series of articles will explain the origin and use of motives, ornc 
of architecture. The first article appeared in the January issue and dealt 
T HE ornament and decoration of the Colonial or Georgian 
period, which we considered in the January number, 
was a direct development of the earlier work of the English 
Renaissance, so that it seems natural to consider, in turn, this 
period and its tendencies, which directly and indirectly produced 
the early American work. 
Early in the seventeenth century, the leaning towards the 
Italian design, the influence of which has been felt for a long 
time, culminated in the work of Inigo Jones, who was the first 
English architect to really assimilate the style. Previous to this 
time there had been a growing use of Italian detail, but it was 
applied to Gothic or Elizabethan forms and did not constitute a 
style, but rather marked the transition from the Gothic to the 
Renaissance. There are very interesting examples of Italian 
pilaster ornament applied to the piers of an otherwise Gothic 
building, as at Christchurch, Hampshire; and the mixture of 
styles produces a very curious and distinctly disagreeable effect. 
Up to the end of the sixteenth century, the tendency in in¬ 
terior work, was to cover the walls with small wood panels, which 
took the place of tapestry and served rather as a background 
than as conscious decoration. With the advent of Inigo Jones, a 
fresh impulse was given to decorative woodwork and from that 
time the walls of a room—at least in the more sumptuous houses 
—were treated in a more decorative way, with panels and orna¬ 
ment, so as to make an almost complete effect without the use 
of pictures or hangings. 
Inigo Jones was the son of an artisan and little is known 
ment and molding characteristics in connection with the better known styles 
with the detail of Colonial times .— Editor.] 
about his early history. However, in some way he was able to 
spend considerable time in Italy, where he probably worked as 
a designer and came under the influence of Paladio. He re¬ 
turned to England soon after sixteen hundred and spent the next 
ten or twelve years, largely, in designing the settings for the 
elaborate masks, or outdoor pageants, which it was the custom 
of the rich nobles to give. He made interesting drawings of 
some extremely sumptuous settings for these pageants, and it is 
said that he completely revolutionized the scenery and the entire 
stage setting of the English theatre. 
In the days of Shakespeare, there was no scenery as we un¬ 
derstand the term. In fact, the stage was entirely open on the 
sides, with galleries extending to the back. Jones changed all 
this and introduced the proscenium, movable scenery, and a more 
adequate stage lighting. 
After about twelve years he went again to Italy and on his 
return to England, where he was by this time well known at 
Court, he was appointed architect for a royal palace. From this 
time on he rapidly rose to the most prominent position as an 
architect and was appointed to the place of Surveyor of the 
King’s Works, or Official Architect. 
In his decorative detail his work shows an intimate knowl¬ 
edge of the Italian design, especially as regards contemporary 
work. There are drawings of mantels, interiors, etc., which 
show a real mastery of such design. It is believed that his 
work, like that of his immediate successors, was worked out 
in the process of construction and that instead of making elabo- 
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