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voked by abuse and detraction. He is said to have been very well informed on general subjects, and to have had an extensive knowledge of classical authors. The style of his own writing is by no means faultless, but is plain and free from those ornaments which are often only blemishes in a scientific work. As a practitioner of medicine he was not very highly esteemed; his anatomical and physiological studies must have interfered materially with his means of acquiring medical experience. An elegant edition of his works, in quarto, was published by the college of physicians, in the year 1766; with an engraved portrait, and a life of the author by Dr Laurence.1

Enigo Jones.

BORN A. D. 1572.-DIED A.D. 1653.

THIS celebrated English architect was born in London, in 1572. His father was a reputable citizen, a cloth-worker by trade, and of the Roman Catholic persuasion. Webb, the nephew and pupil of our artist, says, "there is no certain account in what manner he was brought up, or who had the task of instructing him." He is said to have been at first apprenticed to a joiner, but to have early exhibited so much skill in drawing as to have attracted the notice of the earl of Pembroke, who sent him to Italy to complete his studies. Walpole says that the earl of Arundel also patronized the young artist. But Allan Cunningham sees no reason to suppose that the expenses of his foreign travel were not defrayed by his own family. How long he remained in Italy is not exactly known. Webb intimates that he acquired a high reputation amongst the artists of that country, and that he was employed not unfrequently in designing architectural works for the Italian nobility. It is certain, that on the strength of the reputation he had acquired in Italy, he was invited by Christian IV. to Denmark, and received the appointment of architect to his majesty.

In 1605, we find Jones at Oxford, and employed in getting up a grand masque, with which the university had determined to welcome King James. Soon after this he was appointed architect to Queen Aune and to Prince Henry, and removed to court to aid Ben Jonson in planning and preparing those magnificent masques which were first introduced at Whitehall by the Danish princess, and which gave such lustre to the court of England. The following is the account given by Jonson of his colleague's part in one of these stately pageants :"For the scene"-in the masque of Blackness" was drawn a landscape consisting of small woods, and here and there a void place filled with huntings; which falling, an artificial sea was seen to shoot forth as if it flowed to the land, raised with waves which seemed to move, and in some places the billows to break, as imitating that orderly disorder which is common in nature. In front of this sea were placed six Tritons, in moving and sprightly actions; their upper parts human, save that their hairs were blue, as partaking of the sea colour-their desi1 Works, 1766.-Aikin's Dict.-Murray.-Hutchinson.- Hooper's Med. Dict.Baillie's Posthumous Works. 2 Lives of Eminent Artists, vol. iv. p. 76.

nent parts fish, mounted above their heads, and all varied in disposition. From their backs were borne out certain light pieces of taffeta, as if carried by the wind, and their music made out of wreathed shells. Behind these a pair of sea-maids, for song, were as conspicuously seated; between which two great sea-horses, as big as the life, put forth themselves, the one mounting aloft, and writhing his head from the other; upon their backs Oceanus and Niger were advanced. Oceanus presented in a human form, the colour of his flesh blue, and shadowed with a robe of sea-green; his head grey and horned, as he is represented by the ancients, his beard of the like mixed colour; he was garlanded with sea-grass, and in his hand a trident. Niger in form and colour of an Ethiop; his hair and rare beard curled, shadowed with a blue and bright mantle; his front, neck, and wrists, adorned with pearl, and crowned with an artificial wreath of cane and paper rush. These induced the masquers, which were twelve nymphs, negroes, and the daughters of Niger, attended by so many of the Oceaniæ, which were their light-bearers. The masquers were placed in a great concave shell, like mother-of-pearl, curiously made to move on those waters, and rise with the billow; the top thereof was struck with a cheveron of lights, which indented to the proportion of the shell, struck a glorious beam upon them as they were seated one above another, so that they were all seen, but in an extravagant order. On sides of the shell did swim six huge sea-monsters, varied in their shapes and dispositions, bearing on their backs the twelve torch-bearers who were planted there in several graces, so as the backs of some were seen, some in purple or side, others in face, and all having their lights burning out of whilks or murex shells. The attire of the masquers was alike in all; the colours, azure and silver, but returned on the top with a scroll and antique dressing of feathers and jewels, interlaced with ropes of pearl. And for the front, ear, neck, and wrists, the ornament was of the most choice and orient pearl, but setting off from the black. For the light-bearers, sea-green waved about the skirts with gold and silver; their hair loose and flowing, garlanded with sea-grass, and that stuck with branches of coral. These thus presented; the scene behind seemed a vast sea, and united with this that flowed forth, from the termination or horizon of which, (being the head of the state, which was placed in the upper end of the hall,) was drawn by the lines of perspective, the whole work shooting downwards from the eye, which decorum made it more conspicuous, and caught the eye afar off with a wondering beauty, to which was added an obscure and cloudy night-piece that made the whole set off. So much for the bodily part, which was of Master Inigo Jones's design and art."

On the death of Prince Henry in 1612, Jones again visited Italy; but he does not appear to have remained long abroad. On his return to London, he was made surveyor of his majesty's works. The following notices of our architect, at this period of his fortunes, are curious in themselves, and highly honourable to Jones:-"The office of his majesty's works," says his son-in-law, " of which he was supreme head, having through extraordinary occasions, in the time of his predecessor, contracted a great debt, amounting to several thousand pounds, he was sent for to the lords of the privy council, to give them his opinion what course might be taken to ease his majesty of it, the

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exchequer being empty, and the workmen clamorous. When he, of his own accord, voluntarily offered not to receive one penny of his own entertainment, in what kind soever due, until the debt was fully discharged; and this was was not only performed by him, himself, but upon his persuasion the comptroller and paymaster did the like also, whereby the whole arrears were discharged.' This Roman disinterestedness, as Walpole calls it, proves that the architect had other means of subsistence than his salary as surveyor; but he was never rich; and though he is upbraided by Philip, Lord Pembroke, with having sixteen thousand a year for keeping the palaces in repair, there is no proof that the bargain was profitable, or that he gained more than the bare government pay of 8s. 4d. per day, with an allowance of £46 a year for house rent, besides a clerk, and incidental expenses. What greater rewards he had are not upon record,' observes Walpole, considering the havoc made in offices and repositories during the great civil war, we are glad at recovering the most trivial notices.' His savings could not be large from his salary, and he was too generous to profit by the liberal spirit of his master, who was the poorest king of the richest nation in Europe. Of his modesty respecting the perquisites of his place, there is a proof which no one will doubt; viz., a written testimony by King James in the British Museum. 'Whereas,' says this document, 'there is due unto Inigo Jones, esquire, surveyor of his majesty's works, the sum of thirty-eight pounds, seven shillings and sixpence, for three years arrears of his levy out of the wardrobe, as appeareth by three several debentures; these are therefore to will and require you to make payment unto the said Inigo Jones, or his assignees and for so doing this shall be your warrant.' For three years the king was unable to pay the annual price of his surveyor's livery; and the latter had the modesty and the forbearance to wait till accident, or the tardy liberality of the Commons, replenished the exchequer with the sum of £38 7s. 6d." 3

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Hitherto we have heard nothing of Jones as an architect. He had, doubtless, designed many private mansions for the English nobility before this period, but there is much doubt about the earlier works attributed to him. James, however, was resolved to have a palace whose magnificence should be worthy of the second Solonion, and in Jones he found an artist equal to the task of designing an unrivalled structure. The original design of Whitehall, as shown in Kent's sketches, was a truly splendid one; it was utterly beyond the capacity of James's treasury to execute, and it is to be regretted that the artist's ideas still exist only in the portfolio, with the exception of one beautiful fragment, the Banquetting-house, of which the foundation was laid in 1619, and which has ever been admired for the elegance and justness of its proportions.

In 1620, Jones, in obedience to the king's request, set about examining that remarkable monument of a remote age, Stonehenge, near Wilton. His investigation was minute and laborious, but terminated in the extraordinary conclusion, that in Stonehenge we behold the remains of a Roman temple of the Tuscan order, dedicated to Cœlus! In 1633, we find Jones actively engaged in superintending the repairing the cathedral of St Paul's. Walpole says, that in this task the

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Lives of Eminent Artists, vol. iv. p. 98.

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architect committed two capital faults:-"He first renewed the sides with very bad Gothic, and then added a Roman portico, magnificent and beautiful indeed, but which had no affinity with the ancient parts that remained, and made his own Gothic appear ten times heavier." Cunningham does not attempt to disprove the justness of Walpole's criticism, but calls the portico, in this case, "a splendid mistake,” and declares that he has seen nothing "so nobly proportioned, and so simply splendid, as this portico." In 1631, Jones built the church of Covent-Garden; soon after, he added to his works Surgeon's-ball, the square of Lincoln's-inn-fields, Coleshill in Berkshire, Cobham-hall in Kent, Shaftesbury-house, and a number of private edifices both in the town and in the country. He still continued to supply the court with scenery and inventions for the favourite masques; but it is deeply to be regretted that he should have fallen into a fierce feud with his poetical colleague, Ben Jonson, which embittered the lives of both, and exposed them to not a little ridicule and reproach.

The distractions of the civil wars put a stop to the repairs of St Paul's, and to much of Jones's private employment. "During the usurpation," says Dugdale," the stately portico, with the beautiful Corinthian pillars, being converted into shops for seamstresses and other trades with lofts and stairs ascending thereto-the statues had been despitefully thrown down, and broken in pieces." Of this Jones was witness; but he did not live to see the unfinished cathedral with its magnificent portico wrapt in those flames which consumed so much of London. "Inigo," says Walpole, "tasted early of the misfortunes of his master. He was not only a favourite but a Roman Catholic. Grief, misfortunes and age, terminated his life. He died at Somerset-house, and was buried in the church of St Bennet's, Paul's Wharf, where a monument, erected to his memory, was destroyed in the fire of London."

"The genius of Inigo," says Allan Cunningham, "loved less the simple majesty of the Grecian school than the picturesque splendours of Palladio; and it must be confessed, that, for domestic purposes at least, the varied combinations which the revival of architecture in Italy permitted, are far more suitable to us than the severer simplicity of Athens. The columns, rank over rank, the recesses, the arcades, the multiplied entablatures, the balustrades, and tower above tower, of the modern architecture, must not be looked upon as the innovations of men who went a devious way without a purpose; these changes were in truth conceded in obedience to the calls of climate, of customs, of religion, and of society, and were Pericles raised from the dead, he could not but acknowledge that windows are useful for light, and chimneys necessary for heat in Britain, though he might demur to the domes, and towers, and balustrades of our mansions and palaces. The scrupulously classical men, who look to the exact shape rather than to the true spirit of ancient architecture, pronounce all to be barbarous or impure for which they can find no antique sanction; but this is a poor pedantry. Lord Aberdeen well observes,' These models should be imitated, not, however, with the timid and servile hand of a copyist; their beauties should be transferred to our soil, preserving, at the sanie time, a due regard to the changes of customs and manners, to the dif ference of our climate, and to the condition of modern society. In this case it would not be so much the details of the edifice itself, however

perfect, which ought to engross the attention of the artist; but he should strive rather to possess himself of the spirit and genius by which it was originally planned and directed, and to acquire those just principles of taste which are capable of general application.' That Jones endeavoured to meet the difference of our climate, and the demands of modern society, is sufficiently visible in the works which are still in existence, but much more so in the designs which he left on paper."

John Selden.

BORN A. D. 1584.-DIED A. D. 1654.

JOHN SELDEN, the most eminent of our antiquarian lawyers, was born on the 16th of December, 1584, at Salvington in Sussex. His father was of obscure origin; his mother was of the family of the Bakers of Kent. He received the rudiments of education in the free school of Chichester, and was afterwards admitted of Hart-hall in the university of Oxford, where he enjoyed the tutorship of Anthony Barker and John Young. At the age of 18 he removed to London, and became a member of Clifford's Inn, "it being customary," says Mr Henry Roscoe, "at that time for students-at-law to enter themselves at one of the minor inns of court before they became members of the greater societies." In May, 1604, he was admitted of the Inner Temple, and in due time was called to the bar.

His early reputation for learning soon procured for him the favourable notice of such men as Spelman, Cotton, Camden, and Usher, and their society and conversation induced him to enter on the study of national antiquities. The first fruits of his researches was a volume of collections on early English history, which was first published at Frankfort in 1615, under the title of Analecton Anglo-Britannicon libri duo.' Bishop Nicolson censures these Analecta as crude and incorrect, but the work was on the whole a very fair specimen of antiquarian industry, and especially creditable to the talents and industry of a youth of only twenty-two years of age. In 1610, our young antiquarian published two tracts, entitled, England's Epinomis," and Jani Anglorum facies altera.' In the same year he gave to the world another piece, entitled the Duello, or Single Combat,' in which he investigates the origin and usages of the judicial combat, as that singular institution existed amongst our Norman ancestors.

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These successive publications had conferred no small reputation on Selden, even before the appearance of his treatise on 'Titles of Honour,' a work of great value and practical utility, which passed through a second and much enlarged edition in 1631, and a third in 1672. Ben Jonson condescended to write an encomiastic poem on the author, after the fashion of the day. After writing and editing several other pieces on legal antiquities, in 1617, Selden appeared as a biblical scholar in his celebrated 'De Diis Syriis syntagmata duo,' in which he gives a very learned review of the different species of idol-worship mentioned in scripture, and of Syrian idolatry in general. The Elzevirs reprinted, and De Dieu and Heinsius edited this work in 1627. Beyer, a Leipsic printer, also published two different editions of the work in 1662 and 1680.

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