CHAPTER XIV
ARCHITECTURE OF THE RENAISSANCE IN ENGLAND
II. Jones and Wren
It is only by extension of the term that the architecture of England in the seventeenth century may be properly called Renaissance. But if, in architecture, we understand by Renaissance a revival of the use of classic details, such extension is justifiable, for in this architecture the use of classic details is becoming established, and the art of Jones and Wren stands in relation to the Elizabethan architecture as the art of Vignola and Palladio does to that of the early Renaissance in Italy, and that of Lescot and De l'Orme to the early French Renaissance.
Inigo Jones and Sir Christopher Wren were the only English architects of great importance at this epoch. It was their genius that determined the character of modern English architecture, and we may therefore confine our attention to their works.
Of Jones, Horace Walpole thus speaks in his Anecdotes of Painting:[1] "Inigo Jones, … if a table of fame like that in the Tatler were to be framed for men of indisputable genius in every country, would save England from the disgrace of not having her representative among the arts. … Vitruvius drew up his grammar, Palladio showed him the practice, Rome displayed a theatre worthy of his emulation, and King Charles was ready to encourage, employ, and reward his talents." This famous architect began his artistic career in the early part of the seventeenth century. Nothing is known of his early education, but in youth he appears to have manifested an inclination for drawing, and to have acquired some skill in landscape painting.[2] He does not seem to have had any systematic training in architecture,
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