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Magnifcent Inventions

Jones’s Architectural Orders as Emblems o Royal Triumph

The use of the antique column in pageants and processions was

central to the public identity of the Stuart monarchy right from the start

of their rule in 1603, long before Jones’s rst buildings! The columns had

been introduced to the citi"ens of the #ity of $ondon alongside James %

&ia a series of triumphal arches built in 160' to celebrate, somewhat

belatedly, his coronation ()igs!*!1+3!1 %n this royal procession through

the #ity, the no&el all’antica columns were bound up in the popular

message of an equally new era of royal harmony and triumph ushered in

by Stuart rule! This e&ent drew on the -enaissance tradition of the

Triumph, or .entry’, which united heraldry, costume, music, and, perhaps

most importantly, the arch ()ig!*!'!* These temporary arches framed

the route of the /ing, and were architectural emblems encapsulating the

&irtues of the ruler in order to charm the citi"ens with the show of

monarchy! %n proclaiming a new olden ge, they pro2ected royal powers

as being at the centre of the cosmos and reected the ci&ic order which,

1 James’s entry was delayed by the 4lague from James’s coronation in

1603! )or an eye+witness account see 5ugdale, !, The Time Triumphant,

$ondon, (160'! )or an analysis see ergeron, 5!7!, .8arrison, Jonson and

5e//er9 The 7agnicent :ntertainment for ;ing James’, Journal of the <arburg

and #ourtauld %nstitutes, &ol!31 (1=6>, pp! ''?+'>@ ergeron, .;ing James’s

#i&ic 4ageant and 4arliamentary Speech in 7arch 160'’, lbion, &ol!3' no!*(*00*, pp! *13+31! 4arry, !, olden ge -estor’d, the #ulture of the Stuart

#ourt, 160*+'* (1=>1, pp! 1+3=@ Strong, -!, rt and 4ower (1=>', p!A*@

7ebane, J!S!, -enaissance 7agic and the -eturn of the olden ge (1=>=,

p!161! 8ageman, :!, #onway, ;!, -esurrecting :li"abeth % in se&enteenth+

century :ngland (*00A, pp! A?+AA! See also 5utton, -! (ed!, Jacobean #i&ic

4ageants (1==?, Ste&enson, #!, .Bccasional rchitecture in Se&enteenth+

#entury $ondon’, rchitectural 8istory, &ol!'= (*006, pp! 3?+A'!

2 )or a study of this -enaissance art+form, see Strong, -!, ibid!, esp! p!6*!

See also 7c)arlane, %!5!, The :ntry of 8enri %% into 4aris 16 June 1?'= (1=>*!

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prior to Jones’s buildings, only the /ing’s personal authority could

assure! %t was these &ery &irtues of order and harmony, introduced in a

temporary way here, which Jones’s columns would go on to embody in

more permanent form! That Jones understood this inter+relationshipbetween the Triumph and his architecture is intimated by <ebb’s claim

in 1660 that he was, Cbrought up by his Dnc/le 7r! %nigo Jones upon his

late 7aiestyes command on the study of rchitecture, as well that wch

relates to building as for masques, Tryumphs and the li/eE!3

James % too/ part in a further important procession, this time on

the *6th 7arch 16*0 when according to John Stow, Cbeing 7idlent

Sunday, the ;ing in great state came from <hite+hall to 4aules #hurchE!'

The route from St 4aul’s to <estminster was especially signicant

because the monarch tra&elled from the Tower &ia the #athedral and

Temple ar to <estminster for his (or her coronation, as James had

done in 160'! %n addition the $ord 7ayor went from the uildhall &ia

Temple ar to <estminster for his swearing in!? The #athedral and 4aul’s

#ross formed the regular ob2ects of ci&ic processions, on feast days of ll

Saints, 4entecost and #hristmas! The purpose of James’s procession to

the #athedral in 16*0 was to announce his intention to reface the

building and celebrate its future role at the heart of royal ceremonial! %t

follows that other past and future pro2ects by Jones on this route along

the Strand, some of which were li/e St 4aul’s in being limited to the

design of new all’antica fronts, may well ha&e also owed something in

their conception to processions and Triumphs! %t cannot ha&e escaped

the -oyal Sur&eyor’s notice that many of his buildings formed (or would

ha&e, if they had been built a permanent bac/drop to this traditional

royal way! s such they ine&itably recalled the initial association of the

3 Fational chie&es, ;ew, S4*=G?, no!A' (1, discussed by Brrell, J!, The

Theatre of %nigo Jones and John <ebb (1=>?, p!1?!

4 Stow, J!, nnales, or, a enerall #hronicle of :ngland (1631+3* ed!,

p!1033!

5 See 7anley, $!, $iterature and #ulture in :arly 7odern $ondon (1==A,

pp! *1=, **3!

>6



Brders with the Triumph made during James coronation celebrations!6

The design of architecture which lined such routes was often inuenced

by them! s but one eHample, the bac/ground buildings in the .;ing’s

4rocession’ drawings of 8enri %%% progressing in 1?>* through 4aris fromthe $ou&re to the #hurch of the rands ugustins (the #hapel of the

Brder of the 8oly Spirit which he had founded, related to the

emblematic nature of the gures of the procession!A

4ictures of these royal e&ents in Stuart $ondon are rare, although

an imaginary royal procession was painted by John ip/yn probably

around 1616 for an ordinary Stuart citi"en, a legal cler/ called 8enry

)arley! )arley made a series of appeals for the #athedral’s repair

between 1616 and 16** directly addressed to James! Bne consisted of

two panels, or a diptych, the outer painting of which portrayed a

procession to the precinct of St 4aul’s, lead by the /ing, to hear a

sermon at 4aul’s #ross represented on the inner side of the panel

()igs!*!?+*!A!> %t is possible that ip/yn recorded the actual 16*0

procession, although Iueen nne is pictured (in the upper oor of the

sermon house, and she died in 161=! )arley thereby underlined the

signicance of such processions to the planned refacing (indeed if 1616

is the correct date, why else would he record a procession which had not

yet ta/en place! 8is appeal ser&ed to emphasise a /ey intention

behind the restoration, and one clearly understood by the populace at

large, namely a programme to glorify the goal of these royal progresses

6

See in general Sharpe, ;!, $a/e, 4! (eds!, #ulture and 4olitics in :arlyStuart :ngland (1==', .%nigo Jones and the 4olitics of rchitecture’, pp! *?1+?'!

7 5rawing reproduced in Kates, )!, straea9 the %mperial Theme in the

SiHteenth #entury (1=A?, gs! *'+3=@ see also p!1A= where Kates points out

that the bridge at 4ont+Feuf was built to facilitate the LallegoricalL traMc of the

-oyal procession! Bn the entry of #harles %N and his bride in 4aris in 1?A1, see

ibid!, pp! ***+*3!

8 This procession went from Southwar/ #athedral (Saint 7ary B&erie!

See Tudor+#raig, 4!, .Bld St 4aul’s’9 the Society of ntiquaries 5iptych,

1616 (*00'!

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and thereby consolidate what was, by tradition, a decorated route! %t is

this intention as well as its implications for the other buildings by Jones

on the route which will be eHamined in this chapter!

A Mied !haracter" Royal #rocessions and Jones’s Architectural

Orders

James’s coronation entry into the #ity of $ondon in 160' followed

the medie&al tradition of the entry enacted by 8enry O% in 1'31, :dward

O% in 1?'A, 7ary % in 1?33, and :li"abeth % in 1??= ()ig!*!>!= #oming as

he did from Scotland, James had more need than most of his

predecessors for such proclamations of authority! Se&en temporary

arches were built within the #ity which formed a continuous narrati&e on

the sub2ect of Stuart &irtue, and one further structure (a rainbow

between obelis/s was erected in the Strand (see )igs!*!1+*!3! The route

went from the Tower to the rst arch at )enchurch, progressed &ia the

:Hchange and Soper+$ane :nd (south of #heapside, stopped at St 4aul’s

school to &iew the #athedral, mo&ed on to the #onduit in )leet Street

and the gateway to the Strand at Temple ar! James then progressed

along the Strand, passing further spectacles, to <hitehall! This e&ent

was directed by the #ity $i&ery #ompanies who sponsored the spectacle!

The poet and playwright 7ichael 5rayton was commissioned to write

pPan triumphal@ composed for the Societie of the oldsmiths of $ondon,

congratulating his 8ighnes’ magnicent entring the #itie! To the 7a2estie

of the ;ing (160'! nd the poets en Jonson, Thomas 5e//er and

Thomas 7iddleton wrote the entertainments and speeches to be

deli&ered at &arious points on the route!

s the rst coherent public display of the antique columns in

$ondon, these se&en arches brought together heraldry and the Brders

9 The medie&al poetry of $angland and $ydgate had celebrated 8enry O%%’s

processions leading to St 4aul’s, and %n 1?>> :li"abeth proceeded with Cgreat

splendourE to the #athedral to gi&e than/s for the defeat of the Spanish

rmada, seated in a triumphal chariot with pillars bearing the heraldic lion,

dragon and arms of :ngland, see 7alcolm, J!4!, $ondinium -edi&i&um (1>03,

&ol!3, pp! 1?*+?>, 166!

>>



which had thus+far for the most part only been seen together in

:li"abethan royal iconography (see )ig!3!3! Jonson outlined the meaning

behind the arches, or .de&ices’ as he calls them, and echoed the

connection in Feoplatonic philosophy between the picture+language ofhieroglyphics, emblems and imprese9

CThe nature and propertie of these 5e&ices being, to present alwaies

some one entire bodie, or gure, consisting of distinct members, and

each of those eHpressing it self, in the owne acti&e spheare, yet all, with

that generall harmonie so conneHed, and disposed, as no one little part

can be missing to the illustration of the whole9 where also is to be noted,

that the Symboles used, are not, neither ought to be, simple

8ieroglyphic/s, :mblemes, or %mpreses, but a miHed character,

parta/ing somewhat of all, and peculiarly aQdaRpted to these more

magnicent %n&entionsE!10

Jonson echoed $eon attista lberti’s denition of .beauty’ concerning

all’antica architecture, which argued for Cthat reasoned harmony of all

the parts within a body, so that nothing may be added, ta/en away, oraltered, but for the worseE!11 :ach arch was composed in a harmonious

way with what were quite di&erse and decorati&e &ersions of the Brders!

s such the columns formed part of the emblematics of the spectacle,

and played their part in eHpressing the national harmony that was

eHpected from James in uniting the equally .miHed character’ of the

country at large!1*

10

See Jonson, !, en Jonson9 <or/s, eds! #! 8erford, 4! Simpson, (1=*?+?*, &ol!A, .4art of the ;ingLs :ntertainment in 4assing to 8is #oronation’, pp!

=0+=1! See also 7iddleton, T!, Thomas 7iddleton9 the collected wor/s and

companion, ed! ! Taylor, (*00A!

11 lberti, $!!, Bn the rt of uilding in Ten oo/s, trans! J! -y/wert, F!

$each, -! Ta&ernor, (1=>>, b/!&i, ch!ii, p!1?6!

12:ngra&ings of the arches by <illiam ;ip were published by Stephen 8arrison

(a 2oiner, who o&ersaw the construction and possibly the design of the arches

in rches of Triumph, $ondon, (160', which is held in the 4epys collection,

7agdalene #ollege, #ambridge, $ondon and <estminster, &ol!*, pl! *=A3G3*=+

>=



The rst arch, at )enchurch, was called .$ondinium’ and celebrated

the ancient -oman name for the city (see )ig!*!1! %t was capped by a

model of $ondon accompanied by emblematic gures including

personications of .5i&ine <isdom’, .Oigilance’, and .$o&ing ection’!5e//er conrmed the prominent role played by the columns in the

composition of each arch, reporting that on either side of the )enchurch

arch9 Cstood a great )rench Terme, of stone, ad&anced upon wodden

4edestalls@ two half 4ilasters of -ustic/, standing o&er their headsE! The

second gate, called .The %talian’s 4ageant’ and sponsored by %talian

merchants, included the arms of reat ritain and celebrated the theme

of peace with palm and references to Oirgil, as well as being, Cgarnished

with foure great columnesE! 5e//er was careful to emphasise that the

re&erse of the arch had, together with a picture of pollo, an Cequall

number of #olumnes, 4edestals, 4ilasters, $im’d peeces, and #ar&ed

StatuesE!13 The theme of royal harmony which these columns embodied

was gi&en particular emphasis by music performed on the route@ this

was understood as incantatory, con2uring up natural forces that were

eHpected to guide the ritish /ing in his rule! t the arch at Soper+$ane

:nd according to 5e//er, together with music from a gallery, birdsong

lled the air and two choristers from St 4aul’s sang in Csweete and

ra&ishing &oicesE declaring that CTroyno&ant is now a sommer arbourE!1'

efore arri&ing at St 4aul’s school, James stopped to, Cbehold the

cathedral temple of Saint 4aul upon whose lower battlements an anthem

was sung by the #horisters of the church to the music of loud

instrumentsE!1? This procession thus embraced two important sites for

Jones’s later pro2ects, since after St 4aul’s it went on to the nal arch at

33b! Jonson’s teHt for the celebrations at each arch is in Jonson, ibid!, pp! >0+

10=! See also 7iddleton, T!, op! cit!

135e//er, T!, The 7agnicent :ntertainment i&en to ;ing James (1616

QunpaginatedR!

14 5e//er, T!, .The Song of Troyno&ant’, the arch at Soper+$ane :nd, see

ibid! -eproduced in )airholt, )!<!, The #i&ic arland, #ollection of Songs from

$ondon 4ageants (1>'?, p!1*!15 5e//er, T!, ibid!

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Temple ar which pregured Jones’s own arch proposal of 1636+3>! 8ere

the temporary arch was concei&ed as a .Temple of Janus’ (the two+faced

god of gates, complete with statues of 4eace and <ealth which

identied James’s rule with the olden ge of Saturn (see )ig!*!3!s if to herald Jones’s future wor/ for the crown 5e//er celebrated

the power of the /ing’s presence, as witnessed on such occasions, in

terms of architectural transformations! 8e noted that, C)or such Oertue is

begotten in 4rinces, that their &erie presence hath power to turne a

Oillage to a #itie, and to ma/e a #itie appeare great as a ;ingdomeE!

This mood of royal transformation was also reected by the arches, in

eHpressing the general theme of ancient &irtues re&i&ed! They

represented a triumphal o&erlay upon the relati&e disorder of medie&al

$ondon, and a temporary harmonic ordering which Jones’s subsequent

all’antica architecture would see/ to consolidate! nd it is in the conteHt

of this familiar national display of power and monarchy, rather than that

of 4alladio’s unfamiliar buildings in %taly, that Jones’s architecture would

surely most li/ely ha&e been understood by those ordinary Stuart

citi"ens who had witnessed the celebrations in $ondon in 160'!

The contemporary identication of Jones’s Strand pro2ects with the

Triumph would ha&e been assisted by a further ornamental aspect of it,

namely the tradition of decorating ma2or buildings on the route! These

were ornamented with heraldry and antique symbols to incorporate

them into the festi&ities! 7uch li/e Jones’s use of emblematic costumes

in the court masque, &arious themes of monarchy and its institutions

were displayed during a procession through heraldry and uniforms! %n

particular, the emblems of the #ity #ompanies traditionally played an

important role in decorating the route of royal processions through the

#ity to St 4aul’s! ccording to Stow’s #hronicle, during James’s 16*0

procession to the #athedral, Cthe streets being rayled on both sides, and

the se&erall #ompanies of $ondon in their se&erall places, in their

$i&eries and anners, ga&e their attendance all the way to 4aulesE.16

16 Stow, J!, nnales, or, a enerall #hronicle of :ngland (1631+3* ed!,

p!1033!

=1



There were Ctapestry+hangings all the while hanging out of the

windowsE, and the choir Cwas adornLd with his own 8angingsE!1A Bn such

occasions it was the responsibility of the $ord 7ayor to see that

members of each #ompany lining the royal route were properly dressed,in the colours of their craft and arranged in order! <riting to each in

16*0 he instructed,

CKou ta/e special care that all persons of the $i&ery of your said

#ompany may be in readiness against that time, with their $i&ery 8oods,

attired in their best apparell, to wait and attend his 7a2estie’s

coming! ! !the foremile to be co&ered with a fair blew cloth! ! !Kour

Standards and Streamers to be sett up, as shall best beseeme the

placeE!1>

The west front of St 4aul’s, soon to be refaced by Jones, was commonly

used as a bac/drop for chi&alric displays of city armour! The hereditary

banner+bearer of $ondon marched to the west door where the banner of

the city, an image of St 4aul, was presented to the 7ayor!1= %n this ritual,

Cthere needs no greater demonstration of the #ities ancient honorE,according to Jones’s friend :dmund olton, than the fact that, CThe

gure of St! 4aul (titularie patron of $ondon ad&anced it selfe in the

StandardE!*0 Jones’s new #athedral portico was seen as a means of

pro&iding a tting triumphalist setting for these celebrations!

175ugdale, <!, The 8istory of St! 4aulLs #athedral in $ondon (16?>, p!13?! See

Fichols, J!, The 4rogresses, 4rocessions and 7agnicent )esti&ities of ;ing James % (1>*>, &ol!', p!?=>!

18 Fichols, J!, op! cit!, &ol!', p!?=A!

19See $ethaby, <!-!, .Bld St 4aul’s’, The uilder, (1*th 5ecember and 10th

Bctober, 1=309 CStow, spea/ing of the #hurchyard or #athedral #lose, says

that the citi"ens .claimed the west side that they might there assemble

themsel&es together with the $ord of aynardLs #astle, for &iew of their armour

of defence of the city’C!

20olton, :!, The #ities d&ocate, %n this #ase or Iuestion of 8onour and rmes

(16*>, p!A!

=*



i&en that these processions foreshadowed Jones’s wor/, in its

capacity to ma/e permanent what had been temporary manifestations

of royal power, it is perhaps not surprising to nd the Brders depicted as

the bac/drop to processions in&ol&ing the monarch and the Brder of thearter! s/etch for proposed tapestries by Oan 5y/e of 163> pictured

#harles % in such a procession, leading the arter on the )east of St

eorgeLs 5ay held at either <indsor or <hitehall ()ig!*!=!*1 arter

ceremonies of a processional nature in which the Stuart /ings

participated were de&eloped into quasi+ecclesiastical rituals, comparable

in splendour to the -oman .:cclesia triumphans’! :lias shmole would

dene such arter processions in relationship to the royal .entry’9

C<e thin/ it not amiss in spea/ing of 4rocessions to di&ide them into

7ilitary, #i&il, and :cclesiastical9 Dnder the 7ilitary may best be

comprehended Triumphs, and the Transuection of the -oman ;nights;

under the #i&il, the pompous :ntries or #a&alcades of 4rinces, in to or

through any great #ity@ and the :cclesiastical are those generally so

called, wherein the #hurch proceeds upon a solemn account of

Supplication or Than/sgi&ing: To all which, in the last place, shall follow

the order of the rand 4rocession of this most Foble QarterR Brder;

which in reference to the 5egrees of the 4ersons appearing therein, is

composed of a miHture of such as are to be seen in each of the three

formerE!**

The /ing is pictured by Oan 5y/e under a cloth of old and set against

an all’antica bac/drop, matching the imperial -oman theme of theprocession! This image no doubt reected #harles’s dream of building an

imperial palace at <hitehall, gi&en that the intended location for the

tapestries, of which Oan 5y/eLs s/etch was merely the rst stage, was

21 See 7illar, B!, .#harles %, 8onthorst, and Oan 5yc/’, urlington 7aga"ine,

&ol!=6, (1=?', pp! 36+'1! The s/etch is on &iew at el&oir #astle, near

rantham, $incolnshire!

22 shmole, :!, The %nstitution, $aws #eremonies of the 7ost Foble Brder

of the arter (16A*, p!??*!

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JonesLs <hitehall anqueting 8ouse! later etching of the s/etch, made

in 1A>*, includes Jones in the procession ()ig!*!10! Bf course Oan 5y/e

may be recording an actual procession within the anqueting 8ouse,

thus pro&iding a perfect illustration of how Jones’s architecture wasbound up in the conception of the these chi&alrous e&ents!

$acred #omp and #rocession" %rom #alace to Temple in $tuart

&ondon

7any of Jones’s pro2ected or realised buildings in $ondon, which

spanned his entire wor/ing life, lined the main route to the #ity along

the Strand ()igs!*!11+1*!*3 <e ha&e seen that the Strand was also the

traditional route of royal processions to and from the #ity, such as

James’s in 160' and 16*0! <hen commencing at <hitehall 4alace (with

its anqueting 8ouse the route progressed past pro2ected or eHecuted

wor/ by Jones at the Few :Hchange, #o&ent arden pia""a and church,

Somerset 8ouse, Temple ar, and concluded at St 4aul’s!*' s a

23 The possibility of a designed royal route through $ondon has been implied by

a number of commentators! <hilst discussing a pro2ected Triumphal rch at

Temple ar, John 8arris obser&ed in 1=>* that Cwith the portico complete, Jones

saw the approach road, )leet Street, as a triumphal wayE, 8arris, J!, .%nigo

Jones’, 7acmillan :ncyclopedia of rchitects (1=>*, p!?11! 4rompted once

again by this arch, in 1=>1 raham 4arry noted, Cthe #hristian emperor would

be able to ride from his -oman hall of state at <hitehall to his restored Temple

at St 4aulLs, meeting his citi"ens at an arch that proclaimed the felicity of

Stuart rule by means of emblems of public contentment on the entablatureE,

op! cit!, (1=>1, p!*'=! Feither 8arris nor 4arry eHamined the consequences ofthis on our understanding of any of JonesLs #ity buildings!

24 lso on the Strand was a new frontispiece comprising door and balcony

designed by Jones around 161> for :dward #ecilLs 8ouse@ this wor/ had the

ob&ious added ad&antage of facilitating the &iewing of royal occasions (it was

destroyed by re in 16*>, see 8arris, J!, 8iggott, !, %nigo Jones9 #omplete

rchitectural 5rawings (1=>=, Q8enceforth 88R, cat!*3 p!=0@ see also design

for )ul/e re&ille’s 8ouse in 8olborn, cat!** p!>> ()ig!! %n 16*' two thousand

tons of 4ortland stone were gi&en by James to the 5u/e of uc/ingham for

wor/s at Kor/ 8ouse, the 5u/eLs $ondon residence on the Strand, see Brrell, J!,

='



permanent reminder of the monarch, Jones’s all’antica faUades on this

route from palace to temple clearly had a special signicance! They

would ha&e been &iewed by his contemporaries, somewhat ine&itably,

as consolidating what was by its &ery nature a transient manifestation of royal power and order in the city! This is regardless of any actual

intention to implement such a unied &ision for the city o&er many

years, of which we cannot of course be certain in the absence of a city

plan in Jones’s hand! %t follows that one powerful interpretation of Jones’s

Brders used on these faUades, as understood by the Stuart citi"enry and

by the -oyal Sur&eyor himself, would ha&e been as emblems of royal

Triumph! s such the columns became a powerful form of royal and ci&ic

heraldry, a lin/ discussed in the following chapter! This interpretation

would ob&iously ha&e been consistent with the function of the Brders on

the arches of 160' along part of the same route! 7oreo&er much li/e

these arches, each building on the route can be seen to ha&e eHpressed

&arious &irtues of Stuart rule! <ith such a route in place the requirement

for the /ing to ma/e what were often uncomfortable public appearances

in $ondon would ha&e been eased! This de&elopment was mirrored by

the increasing isolation of #harles’s court in its absolutist phase and its

reliance on the closed art+form of masque for the presentation of the

royal image! #harles had famously refused to stage a coronation entry in

16*6 for eHample!

The royal progress entered the city of <estminster from <hitehall!

%f #harles had had his wish, the entrance would ha&e been through

triumphal arches in a new palace faUade of which, as the introduction

discussed, Jones’s anqueting 8ouse formed a part (see )ig!%!33! 8ere

-ubens’s painted ceiling, with its associations between the Brders and

Solomon as well as the ancient ritish church and crown, clearly

The Iuest for Sha/espeareLs lobe (1=>3, p!'3! Some of this stone was

e&idently ta/en from St 4aulLs for, according to 5ugdale, building material

collected by the rst royal commission was later CborrowedE, on the failure of

the planned wor/ at the #athedral to proceed, to build the water gate at Kor/

8ouse, see 5ugdale, <!, op! cit!, p!13A!

=?



&isualised the monarchy’s harmonious &irtues embodied by the actual

columns on Jones’s faUades planned or realised on the route to St 4aul’s!

)rom <hitehall 4alace the monarch progressed along the Strand!

The &iew of the new #o&ent arden pia""a and church, the design ofwhich was begun by Jones in 1631 sponsored by the :arl of edford, was

bloc/ed from here but a &iew similar to that en2oyed today may well

ha&e been intended ()igs!*!13+*!1'! )or in <enceslaus 8ollar’s

engra&ing of this area published in 16?> only a thin strip of buildings

along with the garden wall of edford 8ouse separated the Strand from

#o&ent arden ()ig!*!1?! The houses which formed the sides of the

pia""a were restricted to the east and north sides, with the new church

occupying the western an/! The southern boundary running down to

the Strand was left open in original plans recording perimeter building

plot dimensions now held at lnwic/ #astle!*? %f a &iew and access to the

pia""a from the Strand were indeed intended, this would help eHplain

the pia""a’s ob&ious incompleteness (e&en though the :arl owned the

land on the fourth, Strand side, in forming the site of the garden to

edford 8ouse@ #olen #ampbell felt the need to .correct’ matters in

1A1A by illustrating the square with houses on all sides ()ig!*!16!*6 y

applying the optical rules of perspecti&e, the celebration of &istas to

distant pia""as such as here had been a norm of the -enaissance

Triumph! Drban spaces were frequently arranged, li/e the settings in a

masque, to correspond to the point of &iew of the prince as he mo&ed

through the city!*A The #o&ent arden de&elopment had a number of

important symbolic and regal associations for #harles, who was acti&ely

in&ol&ed in its design from the time of his initial appro&al for it! lthough

sponsored by edford, it would ha&e been seen by the /ing as a

25 Two plans in the :arl of edford 4apers, K3, boH 3 *G', at lnwic/ #astle!

26See #ampbell, #!, Oitru&ius ritannicus, &ol!*, (1A1A! See #hanning 5owns,

!, .%nigo JonesLs #o&ent arden9 The )irst Se&enty+)i&e Kears’, Journal of the

Society of rchitectural 8istorians, &ol!*6, (7arch 1=6A, p!*>9 C7any writers

ha&e assumed that %nigo Jones intended a row of houses to LcompleteL the

pia""a, and!!!#ampbell engra&ed a plan showing this arrangementE!27 See Strong, -!, op! cit!, (1=>', p!>A!

=6



successful eHample of the ordering eect intended for the whole city

through royal building proclamations (see )ig!'!1'! These had been

issued by his father in 161? and 161= and had alluded to the ci&ic

achie&ements of ugustus!

*>

#harles’s identication with thede&elopment is underlined by the fact that a bron"e statue of him had

been promised by edford for the pia""a’s centre!*= <hilst a lin/ with the

busy Strand would ha&e had commercial ad&antages for #o&ent arden,

and this would no doubt ha&e pro&ided its principal 2ustication, it also

had the ad&antage of connecting the new de&elopment to the Strand’s

symbolic role as a royal processional route!

%n progressing along the Strand the monarch would ha&e passed

the Few :Hchange, forum of commerce in the city of <estminster,

followed by Somerset 8ouse, the oMcial residence of the Iueen from

161A (when it had been renamed 5enmar/ 8ouse! t dierent times

during the Stuart era both buildings were the sub2ect of schemes

in&ol&ing grandiose Strand faUades which were ne&er built (although

Jones’s Few :Hchange design may well ha&e been adapted by the then

Sur&eyor, Simon asil, for the completed building!30 Jones’s Few

:Hchange ele&ation (of 160>, see )ig!%!> was a solo eort at the start of

his career, but no+less sophisticated for that! %t was to be formed around

28 James %, y the ;ing! 4roclamation for uilding ($ondon, 16th July,

161?, and a further proclamation in 161=! See also 5uggan, 5!, .’$ondon the

-ing! #o&ent arden the Jewell of That -ing’9 Few $ight on #o&ent arden’,

rchitectural 8istory, &ol!'3, (*000, pp! 1'0+61@ $eapman, 7!, %nigo9 The

Troubled $ife of %nigo Jones, rchitect of the :nglish -enaissance (*003, pp!*A=+>?! See also #hapter )our!

29 See Smith, F!, The -oyal %mage and the :nglish 4eople (*001, p!A?!

30)or discussion of JonesLs designs see ibid, Somerset 8ouse, p!1=3, p!*?', Few

:Hchange, pp! 36+3A! See also old, J!, John <ebb9 rchitectural Theory and

4ractice in the Se&enteenth #entury (1=>=, Somerset 8ouse, pp! 103+10A!

<orsley, !, %nigo Jones and the :uropean #lassicist Tradition (*00A, pp! >'+>6,

1?=! Bn the bac/ground to the Few :Hchange see Stone, $!, .%nigo Jones and

the Few :Hchange’, rchaeological Journal, &ol!11', (1=?A, pp! 106+*1@

$eapman, 7!, op! cit!, pp! =6+101!

=A



&e equal squares, and in&ol&ed the persuasi&e medley of all’antica and

medie&al motifs discussed in the %ntroduction! 7uch later, in 163> Jones

wor/ed in partnership with <ebb to pro2ect a monumental front on an

unprecedented scale for Somerset 8ouse! There are two &ersions in<ebb’s hand, both dated, which appropriately+enough gi&e full regal

eHpression to the Brders in that they ha&e a Tuscan base with an %onic

middle storey and a #orinthian attic ()igs!*!1A+*!1>! The pro2ect

illustrates the importance attached to the palace’s Strand frontage as a

symbolic element celebrating Stuart, or more particularly the queen’s,

&irtues (gi&en that the refacing ser&es no ma2or practical purpose, much

li/e at St 4aul’s! mongst other things the pro2ect has the eect of

emphasising the role of the palace faUade as a bac/drop to the royal

route! %ndeed mere stylistic change through building in the new fashion

could not ha&e been the moti&e@ for a refacing had already ta/en place

in the early 1??0s in&ol&ing a symmetrical design and an applied

frontispiece with pediments and columns arranged to resemble a

triumphal arch (drawn by John Thorpe in 1610G11@ )ig!*!1=! Through

their new ordered faUades that incorporated heraldry and all’antica

statues, Jones’s designs along the Strand thus celebrated the classical

&irtues of commerce and monarchy! The Few :Hchange hailed the

growing role of trade in <estminster, whilst Somerset 8ouse celebrated

the institution of the Iueen’s household (and more specically of Iueen

8enrietta 7aria recently installed here by the Stuart court!31

Jones’s nal Strand scheme formed an eHplicit celebration of the

royal entry in the form of a triumphal arch! %f built this arch would ha&e

mar/ed the boundary between the capitol’s two cities + the #ity of

$ondon and the #ity of <estminster! wall had been built in medie&al

times to enclose the #ity of $ondon, and JonesLs proposed arch replaced

one of the old gateways, /nown as Temple ar, at the end of the

Strand!3* %t will be remembered that this is where the nal arch had

31 See Thurley, S!, Somerset 8ouse9 The 4alace of :ngland’s Iueens

1??1+16=* Q$ondon Topographical Society, 4ublication Fo! 16>R, (*00=!32See 88, pp! *?1+*?3! <orsley, !, op! cit!, p!1?=!

=>



stood in 160'! Two designs for a triumphal arch were prepared for the

#ity authorities in 1636+>, one in Jones’s hand and the other in <ebb’s

()igs!*!*0+*!*1a! oth were based on the arch of the -oman emperor

#onstantine, and Jones’s careful study of this arch is recorded in his twoeditions of Serlio ()igs!*!**+*!*3!33 <e saw earlier that in presenting

$ondon as a second -ome and Few Jerusalem, the Stuart /ings

naturally+enough identied themsel&es with #onstantine on account of

his supposed ritish birth and his role as the rst emperor to embrace

#hristianity! Jones’s arch, if constructed, would therefore ha&e been

2ustied by, and celebrated, this ritish antiquity! n equestrian statue of

#harles surmounted <ebb’s arch, an/ed by a statue of Feptune on the

left and #eres on the right (as gods of sea and land! :questrian statues

were a norm of imperial symbolism, but here the /ing is clad in armour

as a chi&alrous /night mirroring the costume of the ancient ritons in

masque! Dnli/e the arches of 160', which were used sequentially,

Jones’s arch replicated the original -oman use of an arch as a symbolic

gateway, by passage through which the emperor signalled his

so&ereignty o&er the city! #harles would ha&e seen this depicted in

ndrea 7antegna’s nine+panel composition The Triumph of #aesar, for

which he paid the huge sum of V10,?00 in 16*= ()ig!*!*'! The /ing’s

identication with the triumphal arch form, as an emblem of power, was

alluded to in one of Oan 5y/e’s famous portraits of #harles ()ig!*!*?!

%n this sense the Temple ar arch would, if built, ha&e formed part

of the route whilst ser&ing a specic symbolic purpose in helping to

reinforce the authority of the monarch o&er the #ity! )or through the

33 oo/ %%%, #hapter 1, fols! 101+3', noting against Serlio’s arch of

#onstantine in his 1?60 edition Cthis cornis marQ/edR is 1GA part oQfR the

baseE (fol!11?r@ in his 1601 edition fols! =A&+10?r and in the indeH, against the

arch of Titus ugustus (fol!100r, Cto be %mitatedE! %n his 4alladio, oo/ %O p!61

(chapter 16, Jones notes, C4aladio thin/es this Templ not ntic/e but % do

beele&e yt to bee ma/e in #onstantines time when rchitecture was much

fallen and they yoused to build wth fragmentes of nti/e buildinges as in his

rch! se SerlioE! See 4eacoc/, J!, nderson, #!, .%nigo Jones, John <ebb, and

Temple ar’, rchitectural 8istory, &ol!'', (*001, pp! *=+3>!

==



statue of Feptune on <ebb’s scheme and the relief panels bearing

emblems of shipping on Jones’s, the arch in its two &ersions not only

celebrated the imperial &irtues of ritain’s sea power but also carried a

specic political message ()ig!*!*6! t that time #harles was engagedin a conict with the #ity #ompanies o&er contributions towards the cost

of the na&y performing its role protecting commerce! The payment of

ship money represented one of the main themes of <illiam 5a&enant’s

masque ritannia Triumphans of the same year as the second arch

design, 163>!3' oth schemes can be understood in this conteHt, for in

passing through the arch on a Triumph or procession, #harles, as an

absolute monarch, would signify his &ictory o&er the #ity on this issue!

y the time of the following court masque, 5a&enant’s $uminalia (later

in 163>, #harles’s &ictory had been assured and this was celebrated by

the Feoplatonic imagery of light sub2ecting dar/ness! Jones’s arch at

Temple ar also asserted the Stuart monarchy’s triumph, but in the more

durable medium of stone, and in this message the regal #orinthian

columns fully participated! The arch demonstrates the emblematic

nature of Jones’s built wor/, as also its consolidation of temporary

decorations! )or not surprisingly, perhaps, its #orinthian columns and

roundels celebrating .2oyfulness’ and .good humour’ (personied by

gures clutching cornucopia recalled the olden ge imagery and Brder

of the nal coronation arch standing in the same position in 160' (see

)ig!*!3!3?

Then as now, the two cities which this gate straddled formed

related but distinct nancial and ecclesiastical centres! oth had

:Hchanges, the .Bld’ in the #ity of $ondon and the .Few’ on this route in

<estminster, and both had centres of worship! StowLs Sur&ey of 1?=>

mentioned them in the same breath9 Cthe #athedrall #hurch of S. 4aule

34 See Strong, -!, Brgel, J!, %nigo Jones9 The Theatre of the Stuart #ourt

(1=A3 Q8enceforth BSR, &ol!1 p!A1! Bn ship money see Sommer&ille, J!4!,

4olitics and %deology in :ngland, 1603+16'0 (1=>6, pp! 136, 1?=+60!35See 4arry, !, op! cit!, chapter one!

100



in $ondon, and the #olledge of S. 4eter at <estminsterE!36 y report a

wooden structure had stood in SaHon times on the site of St 4aul’s and,

as the rst SaHon church in the capital, it predated the bbey which was

a enedictine foundation!

3A

degree of ri&alry had always eHistedbetween the eastern and western temples!3> The Stuart attentions paid

on St 4aul’s eHpressed the wish to restore the #athedral in eminence to

the bbey, the othic eHpanse of which was left untouched! The

#athedral became the focus, o&er and abo&e the bbey, for the

celebration in classical terms of the /ing’s /ey 4rotestant role as

5efender of the )aith! %n <estminster the role of glorifying Stuart rule

was gi&en to JonesLs anqueting 8ouse! 7oreo&er the #ity of $ondon is

the 5iocese of the ishop of $ondon, and with <illiam $aud as ishop

and later rchbishop it was natural that the metropolitan #athedral

should form the centre of his &ision for the #hurch! %n any case, St 4aul’s

had the ad&antage o&er the bbey as far as any proposed building wor/

was concerned in being sited at the end of an established processional

route and attracting nance from the rich #ity #ompanies who

worshiped there! The resurfaced #athedral further reinforced the /ing’s

authority o&er both the #ity of $ondon and its principal church when

seen as the ob2ect of the progress!

5uring the royal procession to St 4aul’s on the *6th 7ay 16*0 the

oMcers of the city, all on horsebac/, met James at Temple ar! The $ord

7ayor presented him with a purse of gold and by contemporary report,

C-obert 8eath, -ecorder, congratulates his entrance into the #ityE!3= Bn

this occasion Temple ar and the #athedral were physically lin/ed along

)leet Street by Cthe foreraile!!!co&ered with a fair blew clothE!'0 Stow’s

#hronicle added that9

36Stow, J!, The Sur&ey of $ondon (1?=> ed!, p!'0A! Stow records the di&isions of

medie&al $ondon!

37See 7aitland, <!, The 8istory of $ondon (1A?6, p!'>3!

38)or a history of the medie&al #athedral, see 5ugdale, <!, op! cit!, pp! 1+'=!

See also #hapter :ight!

39Fichols, J!, op! cit!, &ol!', p!?=>!40%bid!, p!?=A!

101



Cbeing 7idlent Sunday, the ;ing in great state came from <hite+hall to

4aules #hurch, accompanied with 4rince #harles, many of the chiefe

nobility, and se&en or eight ishops, and at Temple barre, the $ord

7aior, ldermen, and -ecorder, recei&ed him, and presented him with apurse of gold, and from thence attended him to 4aules! ! !at the great

<est dore of 4aulesWQJamesR /neeled, and ha&ing ended his Brisons, he

was recei&ed by the 5eane and #hapter of that #hurch, being all in rich

#apes, the #anopy was supported by the rch 5eacons of the

5iocesseE!'1

y the end of #harles’s reign the 5ean was able to recei&e the monarch,

had he wished to &isit the newly refaced #athedral, beneath one of the

most magnicent porticoes in the world! %t was pointed out that the fact

that a royal procession was the chosen .medium’ for JamesLs

announcement of restoration plans in 16*0 highlights the importance of

these e&ents to the planned refacing! s the nal ob2ect of the

monarch’s triumphal 2ourney through the city and the most important

focus of Stuart attempts to proclaim publicly a new olden ge, Jones’s

refaced #athedral represented the ultimate achie&ement of Stuart rule

presented on the route! This was the restoration of the .true’ ancient

theology eHpressed in stone! 8is bac/drop in ritannia Triumphans

(163> focussed on a .restored’ St 4aul’s, and was interpreted in the

masque as an emblem Cwhich might be ta/en for all of great ritainE

(see )ig!1!1!'* s such it was seen by Jones and his royal patrons as a

potent symbol of the power of rule by 5i&ine -ight!

The area in front of the #athedral’s west end, to which Jones’s new

portico formed a dramatic bac/drop, was concei&ed as a setting for the

enactment of court rituals and public .theatre’ such as the Triumph! The

portico fronted one of the main ceremonial spaces in $ondon, the

eHtension of which numbered amongst Jones’s rst acts when building

wor/ began in 1633! <illiam 5ugdale reports that, Cthe 8ouses

41 Stow, J!, #hronicle (1631+3* ed!, p!1033!42 BS, &ol!*, p!66* ln!6*!

10*



ad2oyning to, and neer the #hurch, being compounded for, and pulled

downE!'3 This contro&ersial clearance was moti&ated as much by the

practical need to open up the processional space as by the wish to

dignify the #athedral!

''

The large central door in the #athedral’s westfront, which in JonesLs built design was framed by uted %onic pilasters

and a large entablature with brac/ets, was opened on the occasion of

royal or ci&ic processions! Stow reported that on the feast day of St 4aul,

Cthe 5ean and #hapter being apparelled in #oapes and Oestments, with

arlands of -oses on their heads, they sent the body of the uc/e to

ba/ing, and had the head Hed on a 4ole, borne before the #rosse in

their 4rocession, untill they issued out of the <est doore@ where the

;eeper that brought it, blowed the death of the uc/eE!'?

)ittingly this central door has an oH head in place of a /eystone in

Jones’s preliminary west front design (see )ig!>!10! s part of the wor/

to open up this ceremonial space, the streets radiating from the

#athedral to the west down $udgate 8ill and to the east down #heapside

and $ombard Street were cleared in an eort to eHtend the building’s&isibility in the Stuart capital in the way illustrated in ritannia

Triumphans!'6

435ugdale, <!, op! cit!, p!13=!

44%t was on the grounds of this unilateral clearance that Jones was to be tried by

the 4uritans, see the 5ictionary of Fational iography entry for Jones! See also

the #onclusion!45Stow, J!, Sur&ey (1633 ed!, p!36>!

46 7ilman, 8!8!, nnals of S! 4aul’s #athedral (1>6>, p!33?, quotes

#larendon reporting that all shops in #heapside and $ombard Street, eHcept

those of goldsmiths, were directed to be closed@ this was probably a reference

to booths standing on the public way! %n 1?=> Stowe reported that on the

#athedral’s south side licenses had been granted , Crst to builde lowe

sheddes, but now higher 8ouses, which do hide that beautifull side of the

#hurch, sa&e only the toppe and South ateE, Stowe, J!, ibid!, (1?=> ed!, pp!

30*+3! See also #hapter :ight!

103



s well as using the Brders, whose triumphal associations we ha&e

seen were established in the #ity through the memory of the arches of

160', Jones’s #athedral refacing incorporated iconography traditionally

lin/ed with the Triumph! The palm lea&es on this preliminary design forthe west face, when presented at the conclusion of the Triumph, recalled

those laid before #hrist on his progress through Jerusalem! %n

7antegna’s The Triumph of #aesar the emperor is pictured progressing

with palm lea&es in his hand, as #harles and Jones would ha&e seen (see

)ig!*!*'! %n JonesLs recasting of the na&e he remo&ed the crenulations

and topped the quasi+Tuscan pilasters with what -oger 4ratt described

as C&ast 4ineaplesE!'A These are recorded in the <or/s ccounts and in

#hristopher <ren’s drawings ()ig!*!*A!'> s a &ery rare fruit in :ngland

at this time, the pineapple would seem a strange choice! %t was

synonymous with what we would call a .pine+cone’, and this would seem

the more li/ely interpretation!'= The pine+cone was part of the imperial

imagery of the #hristian Triumph at two of its most important sites! The

processional approach to St 4eter’s (a /ind of Oia Triumphalis contained

a font of ablution in the shape of a pine+cone which Jones must ha&e

&iewed during his stay in -ome in 161'!?0 nd a pine+cone was to be

found in the courtyard of the Triconchos of the reat 4alace at

#onstantinople, where the :mperor enacted the part of #hrist in the

47s reported in 4ratt, -!, The rchitecture of Sir -oger 4ratt, ed! -!T unther,

(1=*>, p!1=A!

48 7odels were made of these in Fo&ember 163=, and the following month

the accounts record payment for the car&ing of &e Cpyne pplesE (<!!13,see ppendiH Bne!

49 .4ineapple’ was understood to mean .pine+cone’, see the BHford :nglish

5ictionary (1=33 ed!, C’4ine+apple’, .4ineapple’9 The fruit of the pine+tree@ a

pine+coneE!

50 giant pineapple, or pine+cone, was to be found in the atrium of St 4eterLs,

see Smith, :!!, rchitectural Symbolism of %mperial -ome and the 7iddle ges

(1=?6, pp! *>+*=! See also otch, J!!, .%nigo JonesLs 4rincipal Oisit to %taly in

161'@ The %tinerary of 8is Journeys’, J!-!%!!!, &ol!'6, (*1st Fo&ember 1=3>, pp!

>?+>6!

10'



Triumphal :ntry on 4alm Sunday!?1 These allusions at the #athedral to

the Triumph would ha&e been assisted by the lion’s heads which the

<or/s ccounts record as being car&ed in 1636, and which Jones’s

sur&i&ing drawing for a transept faUade and 8enry )litcroft’s engra&ingof the completed west front conrm were placed in the upper na&e

free"e (see )igs!>!=, 1!1!?* Oitru&ius had discussed the use of lion’s

heads as gargoyles on ancient %onic temples (O!H&, but at St 4aul’s they

ser&ed no equi&alent practical function! The lion had symbolised -oman

power, together with Solomonic and subsequent ritish heraldic &irtues,

and was commonly depicted either pulling or decorating the chariots

used in the Triumph (ha&ing been identied with 8ercules!?3

' ' ' '

8ence through a series of new, ordered faUades which fronted a

traditional royal route and which in some cases were applied to eHisting

buildings, the Stuarts intended to signify the imposition of their rule on

established medie&al institutions! This wor/ celebrated the ;ing with theanqueting 8ouse at <hitehall 4alace, the encouragement of commerce

by the court with the Few :Hchange and #o&ent arden, the Iueen with

Somerset 8ouse, the #ity and its #ompanies with Temple ar, and nally

the #hurch with old St 4aul’s! Through employing the de&ice of the

column, with its harmonic proportions and ordered relationships, these

new faUades would ha&e permanently embodied the &irtues of harmony

and .solar’ enlightenment personied by the monarch!

51Smith, :!!, ibid!

52 <!!? )ebruary 1636, one of these sur&i&es, in the collection of the dean

and chapter of St 4aulLs, see ppendiH Bne!

53 See for eHample the chariot and lion in the representation of the

triumphal return of 5ionysus from %ndia, sil&er handle from ser&ing dish, -oman

early third century 5, 7etropolitan 7useum of rt, Few Kor/, ?'!11!>@ lions

pulling a chariot, ron"e statuette of #ybele, -oman second century 5, 7et!,

F!K!, =A!**!*'!

10?



$hine &i(e the !hariot o the $un" The &ord Mayor’s #rocession

and Jones’s $t #aul’s

There is no doubt that Jones was fascinated by the -oman

Triumph, closely studying Bnuphrius 4an&inus’s depictions of it in 5e$udis #ircensibus (1?>1 for his masque designs!?' 8e had recreated one

early in his career, for #hapman’s The 7emorable 7as/e of 1613

included Ctwo #arrs TriumphallE in which Cad&anc’t, the choice 7usitions

of our ;ingdomeE and Cin the under+part of their #oronets, shin’d sunnes

of golde plate, sprin/led with pearleE! These golden suns eHpressed an

important theme of the Triumph, for here the sacred nature of /ingship

found particular eHpression through the monarch’s identication with the

sun and the star’s triumphant 2ourney across the hea&ens!?? James had

made reference in asili/on 5oron (1603 to the concept of the od+;ing

spreading the light of his &irtues amongst the people &ia his physical

presence9

C-emember then, that this glistering worldly glory of ;ings, is gi&en

them by od, to teach them to preasse so to glister and shine before

their people, in all wor/es of sanctication and righteousness, that their

persons as bright lamps of godliness and &irtue, may, going in and out

before their people, gi&e light to all their stepsE!?6

%t follows that much later during #harles’s absence in Scotland in 16'1,

the #ity of $ondon was pictured by the ci&ic authorities as in dar/ness,

with Ca continuall and hea&y nightE and Cour 2oysWeclipsedE! Bnly on

the return of the solar /ing were the streets re+illuminated with Cthewarme sunne of his illustrious countenanceE, whilst a banquet was

54#ostume designs in Townshend’s lbion’s Triumph (163* were ta/en from 5e

$udis #ircensibus, see BS, &ol!*, p!'?3!

55 -udolf %%, for eHample, appeared as the sun in 1?A1, see ;rieges/orte,

<!, rcimboldo (1=>A, p!=0@ Strong, -!, op! cit!, (1=>', p!A1!56 James %, 4olitical <or/s of James %, ed! #!8! 7ac%lwain (1=1>, p!1*!

106



prepared by the #ity #ompanies to celebrate the ending of their

mourning, Cput o at the sight of his beamsE!?A

The Stuart monarch’s identication with the sun in Triumphs and

processions was naturally replicated in those centred on the ./ing’ of the#ity of $ondon, the $ord 7ayor, who since medie&al times had been

chosen in turn from amongst the ran/s of the twel&e main #ompanies!

5e//er in Troia+Fo&a Triumphans $BF5BF T-%D748%F, the $ord

7ayor’s pageant of 161*, obser&ed9

CT-KD748S are the most choice and daintiest fruit that spring from

peace and abundance@ $o&e begets them@ and much cost brings them

forthW)or the chaires of magistrates ought to be adorned, and to shine

li/e the chariot which carries the sunne@ and beams (if it were possible

must be thought to be shot from the one as from the other9 as well to

da""le and ama"e the common eye, as to ma/e it learne that there is

some eHcellent, and eHtraordinary arme from hea&en thrust downe to

eHalt a superior man, that thereby the ga"er may be drawne to more

obedience and admirationE!?>

The annual $ord 7ayor’s pageant commonly set o from St 4aul’s and

progressed along #heapside towards the uildhall and a dinner,

returning for e&ening prayers at the #athedral! This e&ent came to

represent a celebration of the twel&e #ompanies as a model of cosmic

order, in&ol&ing the participation of what olton termed the, Ctwel&e

principall 7onopolies (the Xodiac/e of the citie, in whose :cliptic/e line

their $ord 7aior must e&er runne his yeares courseE!?=

s but oneeHample the procession for :dward ar/ham, the $ord 7ayor in 16*1,

was designed by Thomas 7iddleton and entitled Sunne in ries! %t

celebrated solar ci&ic &irtue eHpressed through two building restorations,

57 The Sub2ects 8appinesse, and the #iti"ens Joy, )or the ;ings 7a2esties

happy and safe return from ScotlandWThursday Fo&ember *?, 16'1

(#ambridge Dni&ersity $ibrary, 4et!;!?!10?!

58 )airholt, )!<!, op! cit!, &ol!*, pp! 11+1*!59 olton, :!, op! cit!, p!?6!

10A



one planned for the #athedral and one recently achie&ed at the more

modest Few Standard (a small ancient tower in #heapside capped with

a dome and a statue of )ame blowing a trumpet960

Chis $ordship being gracefully conducted toward the Few Standard, one

in a cloudy ruinous habit leaning upon the turret, at a trumpet’s

sounding, suddenly starts and wa/es, and in ama"ement throwes o his

unseemely garments!E

C<hat noise is this wa/es me from ruine’s wombe

8ahY lesse me, Time, howe bra&e am % becomeY ! ! !

Oertue’s faire aedice rais’d up li/e mee!

<hy, here’s the #itie’s goodness, showen in either,

To raise two worthy buildings both together ! ! !

Fay, note the #itie’s bountie in both, still

<hen they restore a ruine, .tis their will

To be so noble in their cost and care,

ll blemish is forgot when they repaire@

)or what has beene re+edied a lateut lifts its head up in more glorious state@

.Tis grown a principle, ruine’s built agen,

#ome better’d both in monuments and menE!61

%n this way the $ord 7ayor’s procession ser&ed as a means each year to

publicise the past and future achie&ements of the #ity #ompanies, which

ob&iously included new building wor/! 4erhaps unsurprisingly, the

restoration of the #athedral was presented here as bound up with the

re&i&al of a supposed ancient ci&ic freedom, and as a &irtuous product of

the twel&e #ompanies’ celestial rule o&er the city eHpressed by the

progress’s title! s such these processions recorded a manifesto, as it

were, for &irtues which the #ompanies eHpected to be celebrated by

Jones’s refacing! The 16*0 progress entitled The Tryumph of 4eace,

604ointed out by Fichols, J!, op! cit!, &ol!', p!A*> n!1!61 %bid!, p!A*>!

10>



which commemorated the inauguration of Sir )rancis Jones, presented a

programme for the coming year dictated by .4eace’9 C<ithin this

#itty,!!for one whole yeare G Thy mandats are obay’d, then ha&e a care G

To see me safely /eptE!

6*

s chapter eight will discuss in more detail, thetheme of .peace’ inuenced the #athedral sermons of that year calling

for restoration, as too the 16*0 restoration committee on which )rancis

Jones ser&ed and e&entually the wor/ itself!

The sermon at 4aul’s #ross used by James to announce publicly his

restoration plans for St 4aul’s in 16*0 was deli&ered following the

procession to the #athedral led by the /ing! pparently James had

progressed, Cfrom his #ourt to this #rossW!with a /inde of sacred pompe

and processionE!63 The teHt was suggested by James himself, it being

reported by the preacher, ishop John ;ing, that, Che laid my foundation

for me, and set me my patterne (as od did 7oyses in the 7ount to

wor/e byE! This sermon is therefore of particular importance in

understanding the themes of Jones’s subsequent restoration! Bne such

was the .solar’ Triumph, whose signicance was implied by ishop ;ing

when as/ing,

C<hen e&er did your Sunne, since his rst arising amongst you, stand

still in your ibeon The person (% meane of your ;ing, &ouchsafe to be

a part of your auditorie in this place, (with that glorious starre that

followeth the Sunne, and the whole host of our earthly rmament about

him@ with so many thousands of soules besides, see/ing the face of their

-uler,

as % say not but in a triumph or show where they come to ga"e, oralong the streets in traine and succession, there ha&e beene more, but

in a garland and ring of an auditorie coucht together, ne&er ha&e more

beene seene til this dayE6'

62%bid!, p!6*6!

63 ;ing, J!, Sermon at 4aules #rosse, on behalfe of 4aules #hurch

(16*0, p.?0!64 %bid!, p!3*!

10=



The Triumph was once again understood as a public show of a court

hierarchy reecting the hea&ens, with the 2ourney of the /ing coinciding

with that of the sun in illuminating a newly restored St 4aul’s! )or 2ust as

Solomon’s temple had been, Cthe strongest and stateliest pile of buildingthat e&er the eyes of the Sunne loo/ed uponE, so in succession St 4aul’s

was to be restored betting, Cthe body of the ;ing, the morning mid+

day inuence of that glorious SunE!6?

Ta(en out o )ar(ness" Jones’s !athedral and the Temple to

Apollo

Oarious characteristics of the #athedral’s west front can be seen to

ha&e celebrated its role as the ob2ect of the monarch’s solar progress!

ccording to the drawings by 8ollar and <ren, Jones placed obelis/s

abo&e the pineapples which ran along the sides of the na&e and

transepts (see )igs!*!*A, >!1+3!66 :ach obelis/ supported an orb at its

apeH! Bbelis/s had long associations with the sun, gi&en their

resemblance to solar rays! They had been used as such to .illuminate’

ancient -ome following the eHample of 8eliopolis in :gypt!6A %n more

modern times SiHtus O had sought the permanent translation of -ome

into a radiant city animated by the light of od, a new 8eliopolis,

65 %bid!, pp! 1>, '3!

668ollar records an obelis/ on each of the corners of Jones’s #athedral in the

plates published in 5ugdale, <!, op! cit! 8owe&er, in this .4re+)ire’ drawing

<ren shows one crowning each upper LpierL, throughout the na&e and transepts

(8ollar lea&es these empty and LuncelebratedL! 8ere <ren is probably correct,since these obelis/s may well ha&e also been necessary to perform a structural

function in pre&enting the roof from spreading, as othic pinnacles would ha&e

done in the same location (certainly <ren is accurate in his record of

pineapples at the head of the lower .piers’!

67 ugustus used an obelis/ as a sundial in the #ampus 7artius, -ome, see

4liny, Fatural 8istory, trans! 8! -ac/ham, 5!:! :ichhol", (1=3>, oo/ 36,

#hapters 63+A3@ :ncyclopaedia ritannica (1=10+11 ed!9 CBbelis/Wwere

sheathed in bright metal, catching and reecting the sun’s raysWThey were

dedicated to solar deities, and were especially numerous at 8eliopolisE!

110



through the erection of obelis/s at important sites in 1?>6! Symbols of

ancient -ome, including the obelis/, were relocated to proclaim

continuity between ancient and modern -ome as well as between the

ishops of -ome and the -oman :mperors ()ig!*!*>! <e ha&e seen thatrather than proposing wholesale demolition in $ondon, the Stuarts

adopted a similar approach in building new structures at signicant sites

and by refacing, with all’antica faUades, medie&al buildings belonging to

the city’s institutions@ albeit their approach was along a specic route

and on a piecemeal basis! This was equi&alent in action to the

resurfacing of medie&al St 4aul’s, and made manifest their policy to

transform the medie&al city into the .second -ome’ and .Few Jerusalem’!

Jones would ha&e /nown of SiHtus O’s use of obelis/s similarly to

transform -ome into a radiant city through his &isit there in 161', as

well as through studying boo/s on the sub2ect by 5omenico )ontana and

ianfrancesco ordini (with its diagrammatic engra&ing of this &ery

scheme, )ig!*!*=!6>

ut there were other precedents closer to home for Jones’s use of

the obelis/ at St 4aul’s to signify the /ing’s .solar’ Triumph, since ritish

royal iconography frequently lin/ed obelis/s and solar illumination!

4erhaps the most prominent eHample was the emblematic frontispiece

to James’s <or/es of 1616, where the decoration of the obelis/ with four

crowns ma/es it a particularly ritish symbol (see )ig!3!?!6= 5uring

68 Bn ordini, see the %ntroduction! Jones refers to 5omenico )ontana in his

4alladio, oo/ %O pp! =', 11>! Bn Jones’s study of )ontana’s 5ella

trasportatione dell’obelisco &aticano et della fabriche di nostro signore 4apaSisto OWlibro primo (1?=0, see #hapter SiH p!

69 See #orbett, 7!, $ightbown, -!, The #omely )rontispiece9 the :mblematic

Title+4age in :ngland 1??0+1660 (1=A=, p!13=! %n the emblematic frontispiece

to Jacques oissard’s Theatrum &itae humanae (printed by Theodore 5e ry at

7et" in 1?=6 an obelis/ rises from an earthly hell to touch the hea&enly

illumination of the godhead! s part of the sun and moon symbolism employed

to celebrate the .alchemical’ wedding of 4rincess :lisabeth and the :lector

4alatine in 1613, an obelis/ of sil&er was an/ed by golden statues of the royal

couple, in Thomas #ampion’s The $ords 7as/e (1613@ see #ampion’s <or/s,

111



James’s entry in 160' he had passed an emblem of the sun and moon

set between two obelis/s, which were seen to herald the /ing as the

.new ugustus’!A0 Bnce again the iconography subsequently used by

Jones at the #athedral thus made permanent the symbolism earlieremployed in this Triumph (which had itself been lin/ed to the #athedral

by passing it! %t might e&en ha&e been hoped that Jones’s columns and

his obelis/s set against the s/y at St 4aul’s possessed similar powers to

those featured in the arriers! 8ere Jonson had claimed for these

ornaments the potential to confer nothing less than celestial &irtues on

the ritish court, with, CThose obelis/s and columns bro/e and down G

That struc/ the stars, and raised the ritish crown G To be a constellation

WG Butstriding the #olossus of the sunE!A1 Such magical imagery

recalled, albeit indirectly, the sun and moon mounted on two 5oric

columns in the frontispiece to John 5ee’s Feoplatonic wor/ entitled

7onas hieroglyphica (1?6'!

The use of solar iconography had an ob&ious theological

dimension too! The #athedral 5ean from 16*1 was the poet John 5onne,

one of Jones’s friends!A* The sun was a common enough theme of his

religious poetry, .The Sunne -ising’ (c!1603 being perhaps the most

notable eHample!A3 Through his sermons, St 4aul’s became the setting

for 5onne’s identication of #hrist with the sun, an image informed by

#opernican astronomy!A' %t might be assumed that any #athedral

ed! S!4! Oi&ian (1=0=, description of the scene on p!=>! Bn the 8eidelberg

obelis/, see 4atterson, -!, .The .8ortus 4alatinus’ at 8eidelberg and the

-eformation of the <orld’, Journal of arden 8istory, &ol!1, (1=>1, pp! ='+?!70 5e//er, T!, op! cit!

71 .The 8ouse of #hi&alry’ from 4rince 8enry’s arriers (1610, BS, &ol!1,

p!160 lns! 3>+'0, 61!

72 See ald, -!#!, John 5onne, a $ife (1=A0, pp! 1=1+>! oth 5onne and

Jones appear to ha&e been members of a debating .club’!

73 See 5onne, J!, The #omplete :nglish 4oems, ed! #!! 4atrides, (1=>?,

pp! ?3+'!

74 See #oMn, #!7!, John 5onne and the Few 4hilosophy (1=3A, pp! *0,

1A>! See also )oHell, F!, Sermon in Stone9 John 5onne and his 7onument in

11*



scheme ad&anced by Jones which intended to e&o/e the power of di&ine

mysteries and the light of od through its iconography would ha&e

found sympathy with 5onne in his role as guardian of the fabric!A?

Jones’s preliminary west faUade design, of uncertain date, reected this&ery theme in an actual solar icon, namely the glorication of #hrist’s

name, Jesus 8ominum Sal&ator, in the form of an %8S sunburst at its

apeH (see )ig!>!10!A6 %n line with court art, later $audian iconography

also often featured the sun as an emblem of the -eformed religion!AA

The most stri/ing public manifestation of the $audian policy

promoting the .beauty of holiness’ was Jones’s #athedral portico,

composed of siHteen columns of the #orinthian Brder! This portico was

based on the front of the -oman Temple of the Sun and 7oon as

illustrated by 4alladio in a woodcut much+studied by Jones (oo/ %O,

#hapter 10@ )ig!*!30@ indeed he &isited the temple whilst in -ome!A>

St 4aul’s #athedral (1=A>, pp! >, 1*!

75 The 5ean traditionally had responsibility for the maintenance of part of

the fabric (shared with the #hapter responsible for the choir whilst the ishop

of $ondon had care of the .whole body’ of the church@ see 5ugdale, <!, op! cit!,

p!136!

76 Bn this symbol see #hapter :ight! lin/ between the created light of the

sun and moon and the higher, brighter light of the creation itself, eHpressed

through the sacred name, was illustrated in the emblematic frontispiece to

James’s .uthorised Oersion’ of the ible (1611!

77 The .ood Shepherd’ chalice plate, c!161?, in St John’s #ollege, BHford@

the altar at St John’s #ollege, #ambridge, abo&e which was a sun Cwith great

light beamsE, see Tyac/e, F!, nti+#al&inists9 the -ise of :nglish rminianismc!1?=0+16'0 (1=>A, chalice, p!H&iii, and g!1, altar p!1='! %n the citadel of

ultra+$audianism, 4eterhouse in #ambridge, for eHample, the arched ceiling of

the new chapel was painted s/y+blue, whilst each coer contained the emblem

of a golden burning sun, see Tre&or+-oper, 8!, #atholics, nglicans and 4uritans

(1=>A, title in indeH, p!30*!

78 Jones notes in the left+hand margin of oo/ %O p!3A (#hapter 109 CThe

Templs of Soll and $una! %E! QWR C! The portio is Z parte of the tempell from #

to 5WFoat that the statues on ye croterri are much bigger then thos o&er ye

collomes being farder from the eye and to agree with the bignes of the

113



oth porticoes are capped by a simple balustrade and statues rather

than a pediment, and both ha&e ten #orinthian columns to the fore@ the

ancient temple e&en has the same central window trio found at St

4aul’s!

A=

The ancient portico clearly pro&ided a wholly appropriate modelfor the modern one in its role recei&ing the .solar monarch’ on the

occasion of the Triumph, as urged by ishop ;ing in 16*0! The portico

also reaMrmed initially James and then #harles’s general identication

with the sun in court art and sermons, alongside the corresponding

presentation of 8enrietta 7aria as the moon!>0 erard &an 8onthorst’s

painting of #harles and his Iueen as pollo and 5iana of 163> is an

ob&ious eHample, intended for display in Jones’s anqueting 8ouse

()ig!*!31!>1

collomE! gainst the ele&ation9 CThes statues are in hight Z part of the collom

rchitra&e freese and corrnishE!

79 )raser, 4!, #atalogue of 5rawings by %nigo JonesWin the urlington+

5e&onshire #ollection (1=60, p!=6 and Summerson, J!, rchitecture in ritain

1?30+1>30 (1=>3 ed!, p!136! 8owe&er the portico is also sometimes identied

incorrectly with 4alladio’s temple of ntoninus and )austina9 see 8arris, J!, op!

cit!, p!1'3, and again 8arris’s entry for Jones in the 7acmillan :ncyclopedia of

rchitects, op! cit!, p!?10, and 4arry, !, op! cit!, p! *61, n!3*, 88 p!*'0!

Summerson in .$ectures on a 7aster 7ind! %nigo Jones’, 4roceedings of the

ritish cademy, &ol!?0, (1=6', identies Jones’s portico with both temples,

p!1>=!

80 )or eorge 7arcelline in 1610, following the notion that James was the

Ccommon fatherE of his people, his rule was Cnswerable to the Sun, whichshineth equally upon allE, see The Triumphs of ;ing James the )irst (1610,

p!1'! $ater, in Jonson’s $o&e’s Triumph through #allipolis (1631 which

depended in particular on )icino’s commentary on the Symposium and runo’s

5egli eroici furori and with settings by Jones, an idealised Stuart city was

disco&ered in which the queen is told, CThrough all the streets of your

#allipolis, G <hich by the Splendour of your rays made bright, G The seat and

region of all beauty isE (lns! A1+3!

81 See 4alme, 4!, The Triumph of 4eace 9 Study of the <hitehall

anqueting 8ouse (1=?A, p!*63! 7illar, B!, op! cit!

11'



Jones’s use of this ancient temple as a model for the portico at St

4aul’s, and its identication with the royal couple, would ha&e been

reinforced by eorey of 7onmouth’s report, much culti&ated by the

Stuarts, of an ancient -omano+ritish temple to pollo in $ondon@ therewas e&en a related legend of one to 5iana as ha&ing stood on the actual

site of St 4aul’s!>* 5rayton speculated in 4oly+Blbion (1613 on the

etymology of the name $ondon,

C% could imagine, it might be cald at rst $han 5ien!i! the Temple of

5iana, as $han+5ewiWand so afterward by stranger turned into

$ondinium, and the li/e! )or, that 5iana and her brother pollo (under

name of elin were two great 5eities among the ritons, where is read

neHt before, #aesars testimony of the aules@ and that she had her

Temple there where 4aules is, relation in #amden discloses to youE!>3

Jones was himself to claim that a -oman temple was buried under the

#athedral, based on oH heads which he had dug up on the site (and it

was noted that, curiously enough, an oH head was placed o&er the

82 eorey of 7onmouth recorded that a magical temple to pollo had

once stood in Few Troy! )or the ninth /ing of ritain, a magician named ladud,

had Ctried to go upon the top of the air, when he fell upon the temple of pollo

in the city of Few Troy, and was dashed into many piecesE, see 8istory of the

;ings of ritain, trans! S! :&ans, (1=63 ed!, oo/ %%, #hapter 10, p!3?! ladud

featured in James’s oMcial genealogy, as part of the attempt to 2ustify the

Stuart succession by 8eywood in his T-B% -%TF%# (160= and by Thomas$yte in his royal tree of 1610 in which pollo’s temple is pictured, see $e&is,

8!#!, The ritish ;ing who tried to )ly, :Htracts from old #hronicles and 8istory

relating to ladud (1=1=, pp! A1+*! Thomas 5e//er’s $ondon’s Tempe (16*=

presented the capital as the setting for a palace of pollo, whilst in Jonson’s

The 7asque of ugurs (16** $ondon was pictured by Jones as the setting for a

magical porticoed temple to pollo!

83 5rayton, 7!, 4oly+Blbion, Br a #horographicall 5escription of Tracts,

-i&ers, 7ountaines, )orests, and other parts of this renowned %sle of reat

ritaine (1613, part >, p!1*6! See also 5ugdale, <!, op! cit!, p!3!

11?



central door in his preliminary west front design!>' 5iana’s legendary

temple also featured in ishop -ichard #orbet’s sermon of 163' praising

the #athedral’s restoration,

C%t was once dedicated to 5iana, at least some 4art of it@ but the %dolatry

lasted not long, and see a 7ystery in the #handge St 4auls confuting

twice that idol, there in person [ where the crye was, .reat is 5iana of

the :phesiansY’ and here, by 4roHy, 4aul installed while againe 5iana is

thrust out! %t did magnify the #reation, that it was ta/en out of 5ar/ness!

$ight is not the clearer for that, but it is the stranger and more

wonderfulE!>?

#orbet presented the site of the #athedral as once ha&ing undergone a

masque+li/e transformation from 4agan .dar/ness’ to #hristian .light’, a

process about to be repeated, or so he implies, by the Stuart

resurfacing! The court poetry of :dmund <aller often described the

monarchy bathed in hea&enly light since, Cthe light which now informs

our age G rea/s from the courtE!>6 %n <aller’s &erse concerning the

restoration, Jones’s new #athedral faUades and the west front inparticular were presented as bathed in the light of solar appro&al,

CThe Sun which riseth to salute the quire

lready nish’d, setting shall admire

8ow pri&ate bounty could so far eHtend,

The ;ing built all, but #harles the western endE!>A

84 Jones, %!, STBF:+8:F (16??, p!6>9 CKet that there might be a -oman

Temple in old time standing in that place, % will not deny, the number of BHe+

heads digged up and anciently sacriced there, setting all other reasons aside,

so probably manifesting the sameE!

85 Simpson, <!S!, 5ocuments %llustrating the 8istory of S! 4aulLs #athedral

(1>>0, pp! 13'+3=!

86 <aller, :!, .Bf the Iueen’, discussed in 4arry, !, op! cit!, p!*0>!87 < ll : Th 4 ti l < / f :d d < ll d % ll (1A>' 6A

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