Page:Dictionary of National Biography volume 30.djvu/121

 turn of Albion,’ which celebrated the return of Prince Charles from Spain, on Twelfth Night, 1623–4 (4to, n. d.), and for ‘Pan's Anniversary, or the Shepherd's Holiday’ (Twelfth Night, 1624–5). Jonson omitted any mention of Jones in the printed copies of the former, but on the title-page of the latter Jones's name is placed before that of Jonson, a courtesy only paid him by the poet on this occasion. Jones helped to arrange the elaborate funeral of James I in Westminster Abbey on 7 May following (State Papers, Dom. ii. 55;, Letters and Lives of Eminent Men, 1813, ii. 412).

In the winter festivities at court of 1625–6 Jones prepared not only Jonson's ‘Fortunate Isles and their Union,’ but also a French pastoral, in which Queen Henrietta Maria and her ‘demoiselles’ acted at Denmark House (Declared Accounts, Master of the Revels, 1 Nov. 1623 to 31 Oct. 1626; State Papers, Dom. xii. 4 and 93). The original drawings by Jones for the dresses of this masque are preserved at Chatsworth, together with a design for one of the scenes of the pastoral, dated 1625, formerly at Chiswick. The two masques presented early in 1631, ‘Love's Triumph through Callipolis’ (4to, 1630) and ‘Chloridia’ (4to, n. d.), were again by Jones and Jonson, but Jonson was not henceforward employed at court. In both the king's and queen's masques, ‘Albion's Triumph’ and ‘Tempe Restored,’ performed in the following year, Jones's coadjutor was Aurelian Townshend. Jones designed the scenery for the performance at court of Shirley's ‘Triumphs of Peace’ (3 Feb. 1633–4), Carew's ‘Cœlum Britannicum’ (Shrove Tuesday, 1634), Fletcher's ‘Pastoral Shepherdess’ (6 Jan. 1633–4), William D'Avenant's ‘Temple of Love’ (Shrove Tuesday, 1634–5), the French pastoral ‘Florimine’ (21 Dec. 1635, cf., Dict. of Plays), for which the working drawings of the stage and scenery are in Lansd. MS. 1171; Heywood's ‘Love's Mistress in the Queen's Masque’ (at Denmark House, 1636), and Thomas Cartwright's ‘Royal Slave’ (at Christ Church, Oxford, 30 Aug. 1636, and later at Hampton Court). With Chapman, who had dedicated his translation of ‘Musæus’ to Jones in 1616, Jones maintained a lifelong friendship; and he designed in 1634 the monument to Chapman's memory which is still extant in the church of St. Giles-in-the-Fields, London.

But with Jonson Jones's relations were far less amicable. In 1617 Jonson told Prince Charles that when he wanted words to express the greatest villain in the world he would call him an Inigo (Conversations of Jonson with Drummond of Hawthornden, Shak. Soc., 1842, p. 30). When Townhsend's ‘Albion's Triumph’ was produced in 1631–2 a contemporary letter-writer recorded that Jonson was discarded ‘by reason of the predominant power of his antagonist, Inigo Jones, who this time twelvemonth was angry with him for putting his own name before his on the title-page,’ apparently to the ‘Chloridia’ (, Works, ed. Gifford, 1816, i. p. clx). Jonson answered Jones's complaints in satires entitled ‘An Expostulation with Inigo Jones’ and ‘A Corollary to Inigo Marquis Would-be’ (, New Facts, p. 49). In 1633 he proceeded to ridicule the architect in ‘A Tale of a Tub,’ under the character of Vitruvius Hoop. But Jones's influence led the licenser of the stage, Sir H. Herbert, to strike out ‘Vitruvius Hoop's part,’ 7 May 1633 (, Shakespeare, by Boswell, 1821, iii. 232). The part of In-and-in Medlay, which was retained, was, however, intended to reflect on Jones, and in the entertainment to the king and queen at Bolsover on 30 July 1634 Jonson again scoffed at Jones in the character of Coronal Vitruvius. On 3 July 1635 Howell advised Jonson to suppress his satires, which he had contrived to circulate at court, since the king is ‘not well pleased therewith,’ and the advice was taken (, Epistolæ Ho-Elianæ, 1655, i. 265, ii. 2).

Jones was throughout this period busily occupied in architectural work. The alterations and additions to York House, consequent upon its surrender by Bacon to the Duke of Buckingham in 1621, were chiefly carried out by Sir Balthasar Gerbier [q. v.], but in 1626, according to a drawing engraved by Campbell in the ‘Vitruvius Britannicus’ (ii. 28), Jones designed for the duke the watergate which still remains at the foot of Buckingham Street, Adelphi; and there is at Worcester College a design by Jones for a ceiling bearing the motto of the duke, and prepared either for York House or Newhall in Essex, where Jones carried out considerable alterations (State Papers, Dom. cxxxiii. 24).

Before the close of 1630 Jones was made a justice of the peace for Westminster (cf. ib. clxxv. 3, 94, cccclxxxv. 103, 113). On 21 Jan. 1630–1 he and others were directed to put into order the king's coins and medals, both Greek and Roman (ib. clxxxiii. 1). In Vanderdort's catalogue of the royal collection, the manuscript of which is in the Bodleian Library, several portraits, books, &c., are described as either purchased by Jones or presented by him to the king.

On 16 Nov. 1620 Jones had been nominated a member of an abortive commission to inquire