Page:Character of Renaissance Architecture.djvu/270

228 Every form and feature of the native art is eliminated. The Elizabethan house, however overlaid with foreign elements, was English in its primary forms and expression. But here Inigo Jones swept away everything English, and substituted a Palladian scheme that is foreign to England in every particular. The low-pitched roof, the plain rectangular outline, and the narrow undivided window openings are as Italian as the orders with which the façade is overlaid. But such was the state of taste among the influential classes that these features were approved, and the design was applauded with acclamation. "It spread," says Cunningham, "the love of classic architecture far and wide, and there was soon a growing demand for works which recalled Athens to the learned, and presented something new to the admiration of the vulgar." The learned had then small knowledge of Athenian architecture, and even now many learned people fail to consider that there was never in Athens anything at all like Palladian design.

The façade of the Banqueting Hall (Plate X) is in two stories on a low basement, and has a rusticated wall of smooth-faced masonry, with an engaged order in each story, and a parapet with a balustrade over the main cornice. The central part of this façade has its wall slightly advanced, and in each story the orders, Ionic and Corinthian respectively, have engaged columns against the projecting middle part, and pilasters on either side, a pair of them being set together at each end. These pilasters taper and have strong entasis, so that parts of those on the angles overreach the end walls. The entablatures are carried by the walls, and thus have to be broken into ressauts to cover the columns and pilasters. The structural function of all these superimposed columns and pilasters is therefore only that of carrying the ressauts of the parapet. The rectangular windows, of severely classic design, have pediments, alternately curved and angular, in the lower story, and flat cornices only in the story above, while a frieze below the main entablature is adorned in Roman fashion with masks and festoons. It is surprising that such a mechanical reproduction of a foreign style should ever have called forth high praise from Englishmen. The design exhibits no invention, no creative adaptation of foreign elements to new conditions, and therefore