Page:Dictionary of National Biography volume 30.djvu/124

 injured in the great fire, and destroyed when the church was rebuilt by Wren (, Athenæ, ed. Bliss, 1820, ii. 806, n. 7; Addit. MS. 23069, fols. 19 v., 16; Register of St. Benet, Paul's Wharf). He is said to have built and occupied 31 St. Martin's Lane, London (, Lives of Artists, iv. 134). At Charlton in Kent was a farmhouse called Cherry Garden Farm, stated to have been built by him for his own residence (, Environs of London, 1796, iv. 330); another of his residences is assigned to Staines.

Jones appears to have been dyspeptic. At the end of his copy of Palladio's ‘Architettura’ he inserted a prescription ‘for the spleen and vomiting melancholy.’ ‘This,’ he adds, ‘cured me of the sharp vomitings which I had thirty-six years.’ Webb justly wrote of him ‘that what was truly meant by the Art of Design was scarcely known in this kingdom until he … brought it into use and esteem amongst us here.’ ‘He was generally learned,’ adds Webb, ‘eminent for architecture, a great geometrician, and in designing with his pen (as Sir Anthony Vandyke used to say) not to be equalled by whatsoever great masters in his time for boldness, softness, sweetness, and sureness of his touches’ (Vindication of Stone-Heng Restored, pp. 8, 11; compare Add. MS. 23069, fol. 46).

His picture by Vandyck passed into the possession of Webb, by one of whose descendants it was finally sold to Sir Robert Walpole. This portrait is now at St. Petersburg with the rest of the Houghton collection (Add. MS. 23073, fol. 45 v.), and has been scraped on a small plate by Valentine Green. At Chatsworth is preserved the drawing in red chalks by Vandyck, engraved in Robert Van Voerst's ‘Icones’ (Antwerp, 1645). Wibiral notices five states of this print (L'Iconographie d'Antoine van Dyck, 1877, p. 99). From it the head of Jones in an oval appears to have been etched by Hollar for the first edition of ‘Stoneheng Restored.’ A study by Vandyck, ‘en grisaille,’ which was engraved by W. Holl for Peter Cunningham's ‘Life,’ and was at that time in the possession of Major Inigo Jones, a collateral descendant of the architect, seems to be identical with the chalk drawing at Chatsworth, and with the print in the ‘Icones.’ Another head, by William Dobson, was in the possession of Lord Burlington (Add. MS. 23068, fol. 15 v.) There have been many copies made of these portraits, both in painting and in stamp (ib. 23069, fol. 38). The print by Villamena has been already described; a doubtful portrait has been scraped by Spilsbury, from a painting by Vandyck (, British Portraits, 1793, i. 107); and an inferior print engraved by Thomas Sherratt, from a picture in the court-room of the Barber-Surgeons' Company. In the South Kensington Museum is a carved lime-wood medallion of his head (see also Add. MSS. 23068, fol. 28 v., and 23070, fol. 75;, Academia Nobilissimæ Artis Pictoriæ, 1683, 2 pars, lib. iii. cap. vii. p. 241; and , Complete Gentleman, 1634, p. 154).

Jones's drawings passed into the possession of Webb, who bequeathed them to his son William, with strict injunctions that they should not be dispersed. But these directions were not obeyed. Some, in Aubrey's time, were in the possession of Oliver, the city surveyor (, Letters and Lives of Eminent Men, 1813, ii. 411; Harl. MS. 5900, fol. 58). The Earl of Burlington formed a considerable collection of Jones's designs, many of which were published, in two volumes, folio, by William Kent in 1727. From Burlington these drawings descended to the present Duke of Devonshire, and have been lately removed from his house at Chiswick to Chatsworth. They consist of architectural drawings, with designs for the ‘frontispieces’ and scenes of masques; the sketch-book, filled with studies made in Rome in 1614; a ‘Vitruvius’ in Italian containing marginal notes in Jones's hand, and two folio volumes of drawings of dresses designed for the court masques.

The richest collection was formed by Dr. George Clarke (1660–1736) [q. v.], who purchased many drawings of William Webb's widow, and left all he possessed to Worcester College, Oxford, where they are still preserved. These include drawings and notes for what appears to be a projected work on architecture; as well as a copy of Palladio's ‘Architettura,’ Venice, 1602, filled with Jones's marginal notes. Such of these notes as are a commentary on the text of Palladio were printed by G. Leoni, with his English translation of that work, in 1715. Other drawings by Jones are in the Soane Museum; and four books of antiquities, drawn for the Earl of Arundel, were in the library of the Royal Society (ib. 23072, fol. 13). Many of the drawings in these collections are the work of John Webb, elaborated from the designs, and under the care, of Jones; but a judicious criticism has yet to decide how far certain of them are to be entirely attributed to Webb. A considerable number of works executed by that architect were adapted from the designs of Jones, after his death. Of these the chief are: the north-west block of Greenwich Hospital, 1664; Amesbury, Wiltshire, 1661; and Gunnersbury House, near Brentford, 1663, since pulled down. Bedford House, which extended along the north side