Inigo Jones and the Classical Language of Architecture

Inigo Jones and the spotless Language of Architecture Classical house decoratorure divisions can be traced from early Greek and Roman styles. Classici bushel to the highest rank of Roman social structure. Classical norms be foundationd on a formal hierarchal system of clarity, remainder, deceptive simplicity, harmonious coincidence and completeness. (Curl, 12) in that respect is a difference seen between the in human face and the outside of a building. Classical architecture develops every part individually as these separate become a enceinter whole. Orders, or columns, play an important mathematical escape in the development of spotless architecture.The parts of the order include a pedestal, further non always, a column and whatsoever type of plain element above the column. Within the structure of orders a composition regulation and proportional system develop. Although Greek and Italian architecture used the fix Doric, loft and playboy orders thither were distinc t differences between the appearances of the columns. In untainted architecture a Doric order is sl kibosher, usually with a dish and a smooth shaft. One can see an elegant shape base on Ionic orders. Ionic orders also have fluted shafts and some type of cornice ornamentation.The Corinthian order is the most elaborate and may have engaged columns that are partially attached to a wall. umteen of the classical orders are straight lines meeting at right angles with an fitted distance between orders creating a piece with equal parts. There is symmetry from left to right and right to left that is not seen when looking contri excepte to bottom and bottom to top. (Tzonis 9) Inigo Jones is regarded as the first significant English classical architect. Jones mixd his personality and down the stairs endorseing of classical architecture in his designs.His wonder of Italian architects and architecture is evident as many of his designs look more than like Italian villas than traditi onal English buildings. Jones pursued his building projects to make headway his own political and personal interests. (Anderson 41) One of Inigo Jones first projects was building a stable, brew hearth and doghouse for King crowd at his royal hunting site. The pansys House, Queens Chapel and the banquet House are some of Inigo Jones works that are still standing. Other Jones designs include Covent tend and Wilton House.The Queens House, once named the House of Delight, was built in Greenwich. The house looks like two Italian palaces facing one another attached by a narrow passage lined with equally set-apart orders on each side. The orders appear to be Doric because of the simple base and smooth shaft. The exterior sides of the building show the classical norm of universe symmetrical left to right and right to left. Following classical lines there is no up and down symmetry having one arched windowpane on the second story. The wall facing south also has a center second floo r balcony with orders.Materials used on the outside deviate from floor to floor. Brick and stone work were used for the first floor sequence the second story walls are plastered and limewashed. Inside the main student residences are shaped like a cube with flat ceilings. Surrounding inhabit are symmetrical with cornice work showing an Italian figure out with very ornate chimney sculptures. Orazio Gentileschis canvases originally filled the ceilings of the house. The Duchess of Marlborough had them interpreted down and brought to Marlborough House. (Lees-Milne 70) The Banqueting House is regarded by many as Jones masterpiece.Jones was commission to re-build the structure after a fire destroyed the original building. Jones establish his design on Venetian palaces so Banqueting House would stand apart. The outside gives the appearance of a multi-story building. Two cherubs support a large shield in the pediment which was intended to contain a coat of arms. (Anderson 157) Ionic an d engaged Corinthian orders are used. The orders on the exterior side walls combine flat and rounded columns with a pair of coupled pilasters at the end of each facade. Exterior street facade show the classical element of symmetry matching left to right and right to left.One can put on the differences from top to bottom and bottom to top. Lower window tops swop rounded and pointed where upper windows are all flat topped. Each window and order section is a separate design but is also part of the complete building. The interior of the Banqueting House is not multi-storied but a single double cube room. The space has Ionic orders under and Corinthian orders over a cantilevered gallery. (Summerson 53) The flat ceiling is covered with Ruben panels. The Banqueting House is still in use today for concerts, government function and private parties.Inigo Jones was picked to design a modernistic Chapel at St. James Palace. The Queens Chapel is a double cube hall with a coffered ceiling that has an adjoining Queens Closet. There is a triple window rising behind the altar. The center rounded window rises higher than the two flanking windows and is topped with carved angels and falling garlands. The Queens Closet is a gallery separated from the chapel by Corinthian pilasters and festoons. The Closet chimney piece and over mantel portrays classical Italian interior decoration. Harris and Higgott 184) The front exterior of the building is done with Portland-stone masonry. Side to side symmetry is present but there are no orders in the design. Wilton House is another Inigo Jones design. The main front dimension ratio is almost identical to his design for the Princes Lodging but on a larger scale. Wiltons south front has side to side symmetry. The heroic portico is in keeping with the classical association of royalty. Ionic orders are in front of the porticos central Serlian windows which are contact with carved figures. There are corner towers and balustrades.The main in terior room is a double-cube. genuinely ornate moldings, carvings and ceilings are present. Wilton House is one case where symmetry is not followed. The fireplace is not central on the main wall but gives the illusion that symmetry is maintained. (Lees-Milne 102) There are matching kings and queens apartments for royalty use. Wilton House seemed out of place surrounded by smaller houses. This building provided Jones a bridge between his smaller and grander royal works. (Worsley 82) The Covent Garden project by Inigo included a new church building, houses and gates leading to the square.Simple and classical Tuscan design variations were used in the arcade surrounding the houses. The entrance to the square is a false ingress and the church is entered through an enclosed yard. Classical architecture was used to update homes. Jones drawings show the use of banded columns and smooth columns against a rusticated wall. (Anderson 206) Jones designed a Tuscan portico on the east end of St . Pauls church comprised of two central columns flanked by piers attached to a sidewall with arched openings. The Tuscan order throughout Covent Garden brought bout simplicity for urban life. As an architect Inigo Jones gave England a classical, innovative style using his love of Italy and Italian design. His use of orders was based on the specific function of the building, the context in which it was to be built and his own interpretation. (Anderson 208) Jones wanted his identity as an architect to be defined by The Banqueting House and St. Pauls Cathedral. (Anderson 25)Works Cited Anderson, Christy. Inigo Jones and the Classical Tradition. New York, Cambridge University Press, 2007. Curl, James. Classical Architecture. New York, Van Nostrand Reinhold,1992. Harris, John and Higgott, Gordon. Inigo Jones jazz Architectural Drawings. London, A. Zwemmer Ltd, 1989. Lees-Milne, James. The Age of Inigo Jones. London, B. T. Batsford Ltd. , 1953. Summerson, John. Inigo Jones. Middlesex, Pe nguin Books Ltd. , 1966. Tzonis, Alexander and Lefaivre, Liane. Classical Architecture the Poetics of Order. Cambridge, MIT Press, 19986. Worsley, Giles. Inigo Jones and the European classicist Tradtion. New Have, Yale University Press, 2007.