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The Most Notable Antiquity of Great Britain, Vulgarly called Stone-Heng, On Salisbury Plain, Restored, By Inigo Jones, ... To Which are added, The Chorea Giganticum, Or, Stone-Heng Restored to the Danes, By Dr. Charleton; And Mr. Webb's Vindication of Stone-Heng Restored, In Answer to Dr. Charleton's Reflections; With Observations upon the Orders and Rules of Architecture in Use among the Ancient Romans
London: Printed for D. Browne, Junior and J. Woodmany and D. Lyon; Printed for G. Conyers, J. and B. Sprint, B. Lintot, D. Browne Junior, J. Woodman and D. Lyon, 1725. Second edition. The extremely scarce first edition only had seven folding plates and the three woodcuts, and "there were but few copies printed, and most of them lost in the fire of London" (Lowndes, 1225). Some occasional foxing, else fine. Lacks the overall title page printed in red and black. Folio (13-1/2 inches tall). Three volumes in one. Collates to Fowler, p. 130-131, except frontispiece in vol. I and dedication to Charles II misbound Illustrated in vol. I - engraved frontispiece of Jones, eleven folded plates, three in text drawings. Vol. II - engraved frontispiece of Charleton and one engraved plate. Vol. III - one woodcut and ten engravings rebound to period in full brown morocco, ruled, decorated and lettered in gilt, new marbled endpapers & Inigo Jones was an (1573-1652) English architect whose father was a clothworker in the neighbourhood of St. Paul's in London, and raised a Catholic. Little is known of the first thirty years of his life. Towards the end of the sixteenth century he went to Italy and lived there for many years, principally in Venice. Christian IV, King of Denmark, induced him to leave Italy and accept an appointment at the Danish Court. Buildings are named both in Italy and Denmark as having been designed by Jones, but seemingly without proof. He returned to England in 1601, and for some time was engaged in designing the costly scenery and machinery of the court masques. About 1614 he again went to Italy and amongst other things studied the style of Renaissance architecture known as Palladian. On his return to England he was appointed surveyor to the king. Jones designed the queen's house, Greenwich, the banqueting house, Whitehall, St. Paul's church and the piazza of Covent Garden (burnt to the ground 1795), and many other buildings. Of his genius as an architect there can be no question, nor can there be any as to his vast influence on the course of architecture in England; but as to the quality of his work and the effect of his influence, opinions differ very widely. His theory of architecture was that "it should be solid, proportional according to the rules, masculine and unaffected". Much of his work, however, is classed as theatrical and his designs were never truly classical. & & & That Stonehenge was a Roman circular temple in Tuscan order dedicated to Coelum, the god of the heavens, was Inigo Jones's response to King James I's inquiry (1620), and appeared in a posthumous publication (1655) by John Webb, which drew extensively from mythology, history, and astrology. Jones's Stonehenge interpretation was an important part of his grand vision Coelum Britannicum, a congratulatory symbolism for the monarch, which drew a macro- and microcosm parallel between the heavens and Britain. This particular symbolism was favored by the architect for a number of reasons: it presented a specific geometrical scheme and therefore turned immediately into an architectural form; and as a consequence it let the architect take an ideal position in relation to the monarch, that is, the supplier of his wisdom. It appeared in other designs by the architect and arguably in works by others under his influence. - Rumiko Handa, "Coelum Brittanicum: Inigo Jones and Symbolic Geometry", pp. 109-126 in Nexus IV: Architecture and Mathematics [Wing J954. Lownes 1225. Fowler 159].
      [Bookseller: Randall House Rare Books]
Last Found On: 2013-01-06           Check availability:      Biblio    

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