795:
54:
640:
43:
76:
62:
214:
known as a surveyor) of the period. A list of works by Stone's relative John
Stoakes includes some work known not to have been designed by Stone, including Inigo Jones' Banqueting House, Whitehall, but permits some attributions, noted below. This amount of information available concerning Stone has led to his importance to English architecture often being overstated. However, the documentation does clearly prove that by 1629 he was England's foremost sculptor and that by the end of his life he held comparable status in architecture. His first appointment in the royal
710:
1549:
515:
238:, Norfolk. Paston commissioned from Stone the monument to his mother (died 1629) in the church at Paston, the family's ancient seat; in Stone's note-book, the price came to £340, and Stone remarks that in setting it up he was "very extreordenerly entertayned thar" by the genial Paston. The simpler monument by Stone of Sir Edmund Paston (died 1633), without the effigy and achievement of arms, stands beside his wife's.
319:
273:, a "copper branch"— probably a cast bronze candelabrum— weighing 166 pounds, and an achievement of the Paston arms. There were many miscellaneous carved furnishings, picture frames and stands for tables, balustrades and paving-stones, and busts of Marcus Aurelius and Faustina. For the gardens he provided figures of Venus and Cupid, Jupiter, Flora, and, to guard the garden front door, a large figure of
586:
828:
The outbreak of the civil war put an end to Stone's career, and he was to personally suffer. Like Inigo Jones, he was seen by the
Puritans as a royal architect; his son, John, fought for the Royalists during the civil war. According to a presentation to King Charles II, in 1690 after the restoration,
730:
and street and courtyard elevations but the "Patterne of the greate gate" in Foster Lane and patterns for the ceiling, wainscoting and the screen in the Great Hall and wainscot panelling in the parlour and the great chamber above it. His surveillance over workmen who found themselves working in a new
725:
partnerships of workmen, appears to be the first instance outside the King's works in which a "surveyor", the predecessor of an architect, was engaged to oversee every detail, a process that seems to have been unfamiliar to the members of the
Goldsmiths' Company. The company's official minutes record
213:
Throughout his life, Stone recorded his work in two journals; These are his autograph notebook (covering the years 1614–1641) and his accounts book (covering 1631–1642). These journals record all his works and patrons, and provide in unequalled detail documentation of the career of an architect (then
872:
features that he had learned in London and
Amsterdam. The result was a vernacular classical architecture, of which regrettably little remains today." Stone, as an architect, was at the cutting edge of modernity, his work in the Baroque style while Inigo Jones' was still promoting Palladianism was at
750:
all features which were not common place until the advent of
England's brief Baroque period which began in the 1690s. When servant's became confined out of sight to their own designated areas rather than sharing rooms with their employers. This was an important milestone in English domestic design.
848:
Despite being Master Mason to the Crown, and his revolutionary works being for and commemorating the most eminent in the land and being displayed in the country's most prominent buildings, Stone was always thought of as a craftsman, and accorded that status. It was to be his contemporary and less
261:
constructed as a wing; its style was so advanced for its date in the 1630s that the younger Repton concluded that it had been "erected by the first Earl of
Yarmouth, to receive King Charles II. and his attendants, who visited Oxnead in 1676; it was a lofty building, with sash-windows, called the
131:
He worked in a context where most sculptors in stone were "mason-sculptors", in modern terms combining sculpture with architecture. The quality of his sculptural work is variable, probably because much of it was done by his workshop colleagues. Netherlandish influence was dominant in
English
132:
sculpture, and in Stone's training, but the importation of classical antiquities by collectors influenced his later work. There continued to be few sculpture commissions other than tombs in
England during his career, and he developed the English types of the previous century.
751:
Another strong
Baroque feature of Goldsmith's Hall was the massive porch, rather than a more Palladian portico, similar, but more restrained in design than that of St Mary the Virgin in Oxford, it is crowned by a broken segmented pediment - again, a strong Baroque feature.
548:. The water gate is believed to have been designed by Stone. However, like the Banqueting House, the design of the water gate has been attributed to Inigo Jones, with Stone only being credited with the building. It has also been attributed to the diplomat and painter Sir
526:
368:
served as influential models far into the 18th century for many monuments in the metropolis and in the country: they were for Sir George
Villiers and his wife, the Countess of Buckingham (c 1631), and for Lionel Cranfield, Earl of Middlesex, and his wife (after 1638).
342:, the vast majority of Stone's surviving sculptures are funerary monuments, and it is by these that the quality of his sculpture is today judged. Stone was greatly influenced by the new classicizing fashion for art derived from the Italian Renaissance and the Roman
266:, probably from the Italian 'frescati', a cool grotto." Repton's drawing shows a building of three bays articulated by a giant order, with large rectangular windows over the basement windows and oval windows, recalled by local people, in a mezzanine above.
651:, Oxford, this was one of his most spectacular works, in a European baroque design. The porch's heavy Baroque is quite unlike the eventual form the style was later to take in England. A huge scrolled pediment is supported by a pair of massive
731:
manner, to which their apprenticeships had not accustomed them, can be sensed in his notation concerning Cornbury Park, where he contracted to "dereckt all the workmen and mak all thar moldes", providing correctly classical profiles for
350:, the memorial to Sir John Holles and his brother Francis both dressed Roman armour reflecting classical influence, something new to England. It has been said that until this time English sculpture resembled that described by the
127:
by English standards. As an architect he worked in the Baroque style providing England with some of its earliest examples of the style that was not to find favour in the country for another sixty years, and then only fleetingly.
540:. The Duke rebuilt and modernised the house and, in 1623, commissioned the building of a water gate to give access to the Thames from the gardens, at that time the river being a favoured method of transport on London. With the
305:
Christopher Hatton was rebuilding Kirby Hall in the same decade. For him Stone provided "6 Emperors heads, with their pedestals cast in Plaster, moulded from the Antiques" (£7 10s), a "head of Apollo, fairly carved in
361:; Sir William is sculpted lying in his grave coat, his knees drawn up in his last agonies: "in its sad and poignant realism," observes Colin Platt, "it was as much a culture shock as the Whitehall Banqueting House".
209:
wrote that Inigo Jones was in charge of the project. This involvement with the royal works led to the spectacular contract for building Jones's Banqueting House, that placed him in the forefront of London builders.
204:
with a wooden screen, stalls, and organ case. The carving was done in London and Stone came to Scotland in July 1616 to oversee the installation. He sub-contracted the painting and gilding work to Matthew Goodrick.
701:
Stone designed and built Goldsmiths' Hall, Foster Lane, in 1635–38, which has provided an example of the manner in which Inigo Jones' ideas on architecture were disseminated in England. Jones himself advised the
1137:
Chimneypieces of the 1630s were not like the more familiar modestly scaled chimneypieces of the 18th century, but included elaborately rendered architectural overmantels that reached to the cornice of the
774:
to contain his monument to Lady Digges (1631, demolished); Cornbury House, Oxfordshire, partly rebuilt by Stone 1632-33 (altered); Copt Hall, Essex, 1638-39 (demolished in 1748). He worked for
1255:
Stone noted that he had been paid £100 "in good mony;" a preliminary design, altered in the execution but apparently the only extant design for a monument by Stone, has been discovered in the
623:
and plain dressed stone. The pediments of the lateral bays are seemingly supported by circular columns which frame niches containing statues of Charles I and Charles II in classical pose. The
616:. The largest and central bay, containing the segmented arch is recessed, causing its larger pediment to be partially hidden by the flanking smaller pediments of the projecting lateral bays.
285:
painted green, surmounted by eight gilded balls. In 1638, he sent his son, Nicholas Stone the younger, to Italy, whence there returned an elevation of a new garden house just built in the
1344:
738:
The placement of windows in the Hall's main facade show that Stone was ahead of his time in plans, smaller windows indicate the existence of mezzanine floors, such as those that exist at
721:
Stone's appointment as surveyor in charge of all the workmen in the design and erection of the new hall, came after a committee of the company had voted on competitive plans offered by
253:, in the lowest of which, he says, stood the fountain of two tiers of bold opposed scrolls supporting a shallow basin, re-erected after the Oxnead sale at the rival Norfolk house,
864:'s assessment of Stone's architecture is that he "partly absorbed the new classicism of Inigo Jones, but without accepting its full discipline and without rejecting some of the
29:
536:
York House, London, was one of the great houses of the aristocracy which lined the Thames during the 17th century. During the 1620s, it was acquired by the royal favourite
1377:
The commission and construction and the building's subsequent history were examined by John Newman, "Nicholas Stone's Goldsmiths' Hall: Design and Practice in the 1630s"
794:
845:. The sculpted memorial tablet, to the man who had created so many memorials for others, has been lost; only a drawing of it (above) remains to indicate his likeness.
570:
Today, of the York House complex, only the water gate survives; the house was demolished in 1670 and the site redeveloped as Villiers Street. The creation of the
245:, made a conjectural drawing of it, based on the foundations and recollections of local inhabitants, which was illustrated in W.H. Bartlett and John Britten's
597:
is one of three entrances to the garden designed by Nicholas Stone between 1632 and 1633. In this highly ornate arch, Stone ignored the new simple classical
1564:
357:
A taste for realism, in part the product of his training in the Netherlands, informs the floor tomb of Sir William Curle (died 1617) in the church at
269:
Stone provided a magnificent chimneypiece that cost £80 and another for the banqueting house, a balcony with two door surrounds and an architrave in
1386:(1971), pp. 30-39 and 138-41; Newman brought together contemporary drawings and 17th and 18th-century prints to discuss the building's architecture.
310:, almost twice as big as life" and "one head carved in stone of Marcus Aurelius" still preserved set in the north front above the loggia (each £4).
655:, an ancient architectural feature revived, in Italy, as a feature of the Baroque, and used most notably, as Stone would have been aware, for the
735:
for carpenters and plasterers. His fee there of £1000 suggested to John Newman that he combined with the surveyorship considerable mason's work.
532:'s 16th-century design for a rustic gate, which flouts all conventions of classical architecture. Nicholas Stone was influenced by such designs.
399:, Northamptonshire, is considered one of his masterpieces. While other surviving examples of his monuments to the dead include those to: Sir
53:
156:(1567–1621), master mason to the City of Amsterdam, visited London in 1606, Stone was introduced to him and contracted to work for him in
1569:
1626:
1606:
1069:(London:Faber and Faber) 1957, pp. 17-40., instances Nicholas Stone's work for Sir William Paston at Oxnead and at Paston, Norfolk.
639:
648:
537:
42:
775:
384:, rising for the moment of judgement. This depiction, Donne's own idea, was sculpted from a painting for which the Poet posed.
412:
1543:
White, Adam. Nicholas Stone, Oxford Dictionary of National Biography. Oxford University Press. Online edition: January 2009.
817:, Westminster, where they remained throughout their lives. The marriage produced three sons: John (1620–1667), a sculptor;
502:. The Wilton House statues, as at Woburn, indicate the close working relationship that Stone had with both Inigo Jones and
594:
184:, where he established a large practice and workshops and soon became the leading English sculptor of funeral monuments.
297:, commissions from Sir William abruptly ceased in 1642; five years later, his outstanding account was settled, for £24.
192:
Stone owed his early success in London in part to Inigo Jones, the King's Surveyor. In 1616 Stone was contracted by the
1520:
1492:
821:(1616–1653) an artist most notable for his copies of Van Dyck and Nicholas (1618–1647), a sculptor, who worked under
628:
206:
326:
posed in his shroud while still alive; an engraving of Nicholas Stone's 1631 effigy to him in St Paul's Cathedral.
1616:
1379:
452:
670:
The obvious European, and thus Catholic, design of the porch was later to cause problems for the porch's patron
1636:
1538:
1106:
January 1844, Repton gave a further account of Oxnead and some of its former treasures, mentioning the drawing.
880:, completed in 1696, was to be hailed as England's first Baroque house, while England's truest Baroque house,
330:
While Stone's London workshop received commissions for garden statuary, perhaps including the sculptures in
693:. Today, the statue is still bears the bullet holes cause when it was fired upon by Cromwellian soldiers.
281:— and perhaps others— are preserved in the gardens at Blickling. In the garden Stone erected a large iron
1102:
116:
20:
1053:, vol. 18 (London, 1726), p. 869: Stone's work at Windsor has been demolished, according to Colvin 1995.
241:
Oxnead was emptied of its treasures, sold off and all but demolished, but in 1809 its long-term tenant,
1611:
1148:
874:
620:
560:
380:
is considered to be among his most remarkable. It depicts the poet, standing upon an urn, dressed in a
47:
856:
Evaluated today, Stone's architecture combines the sophisticated classicism of Jones with an uncouth
464:
853:, working in bronze, who was to cause the status of a sculptor to be elevated to that of an artist.
656:
75:
842:
814:
813:. The year after his marriage Stone returned to England with his wife, settling in the parish of
660:
624:
358:
181:
61:
35:
451:, Oxford (1612-May 1615), with his bust in an oval niche flanked by pilasters of stacked books;
709:
703:
484:
428:
377:
79:
1291:
It is credited to him in a list drawn up by his relative, Charles Stoakes (Colvin, "Gerbier").
1631:
1301:
818:
480:
829:
Stone had been 'sequestered, plundered and imprisoned' because of his loyalty to the crown.
57:
Sir Moyle Finch's tomb, by Nicholas Stone the Elder, 1616, in the Victoria and Albert Museum
1621:
755:
714:
545:
476:
351:
289:, Rome, "for Mr Paston", and marbles, architectural books (Vignola, Vitruvius, and Maggi's
141:
105:
65:
873:
odds with contemporary fashion, it was to be almost fifty years from Stone's death before
643:
Nicholas Stone's Baroque porch at the Church of St Mary the Virgin, Oxford. Designed 1637.
574:
in the 19th century caused the gate to be marooned 150 yards (137 m) from the river.
490:
Of Stone's non-sepulchre sculpture precious little remains: a chimneypiece, from 1616, at
8:
1275:
It is the canonic portrait of Gibbons; see Paul Vining, "Orlando Gibbons: The Portraits"
739:
726:
the detailed designs, vetted by Inigo Jones, that he drew up, not merely the "plotts" or
424:
396:
1481:
1062:
920:
William Cure, the King's Master Mason having declined the demanding task (Colvin 1995).
810:
690:
689:, and later used against the Archbishop at his trial for treason in 1641 following the
571:
518:
494:
depicting mythological standing deities in bas-relief; two crumbling garden statues at
436:
338:, recently attributed to Nicholas Stone, and for domestic items such as door-cases and
177:
101:
544:, it is one of the few surviving reminders in London of the Italianate court style of
1534:
1516:
1488:
857:
732:
601:
style currently fashionable, which had just been introduced to England from Italy by
564:
549:
529:
468:
392:
365:
347:
294:
153:
120:
69:
1089:
The Landscape Gardening and Landscape Architecture of the Late Humphrey Repton, Esq.
1413:
Girouard, p138, discusses the existence and significance of these mezzanine floors.
1256:
877:
652:
541:
258:
242:
193:
161:
850:
491:
472:
343:
215:
201:
262:
Banquetting-room. Underneath this was a vaulted apartment, which was called the
148:. He was first apprenticed to Isaac James, a Dutch-born London mason working in
1318:
1128:
The result may be compared to Stone's front in Foster Lane of Goldsmiths' Hall.
683:
495:
448:
307:
286:
270:
254:
222:
in April 1626; in 1632 he succeeded William Cure as Master Mason to the Crown.
219:
157:
1600:
1560:
1555:
1476:
1461:
900:
881:
861:
771:
767:
679:
503:
444:
420:
404:
331:
231:
197:
1191:
Dianne Duggan, "Isaac de Caus, Nicholas Stone and the Woburn Abbey grotto,"
111:
During his career he was the mason responsible for not only the building of
746:, these housed small informal rooms, servant's rooms and rooms for housing
671:
589:
The Danby gateway to the University of Oxford Botanic Garden built in 1633.
499:
416:
400:
339:
335:
619:
The stone work is heavily decorated being bands of alternating vermicelli
747:
602:
124:
112:
32:
Engraving of the now lost monument to Nicholas Stone (centre) and his son
1573:. Vol. 25 (11th ed.). Cambridge University Press. p. 958.
627:
of the central pediment contains a segmented niche containing a bust of
802:
779:
727:
373:
323:
165:
865:
838:
598:
169:
149:
97:
93:
1356:
Pevsner states it was designed in 1633, the church's website in 1637
1259:: see W.J. Blair, "Nicholas Stone's Design for the Bodley Monument"
841:, London, on 24 August 1647, and was buried in the parish church at
809:
In 1613 Stone married Mayken de Keyser, the daughter of his master,
783:
686:
675:
613:
456:
293:), and plaster casts sent home from Livorno. With the onset of the
274:
250:
1554:
This article incorporates text from a publication now in the
514:
176:
with Bernard Janssens, a fellow pupil of de Keyser and settled in
869:
822:
798:
743:
664:
460:
432:
408:
282:
249:
1809, following p. 98. his view is centered on the terraced
90:
28:
631:, who founded the garden in 1621 and commissioned the gateways.
160:, where he married de Keyser's daughter and worked with his son
1533:, 1988 (2nd edn.), Pelican History of Art (now Yale), Penguin,
606:
585:
567:
indicate that it is by the same hand as the Danby Gate itself.
440:
388:
381:
318:
235:
173:
145:
1325:(1963); Sir John withdrew the attribution in the 1991 edition.
754:
Stone's Goldsmith's Hall was burnt to a standing shell in the
525:
46:
Monument to Heneage Finch by Nicholas Stone, 1632, now in the
1439:(Oxford, 1919), p. 117, and see her will TNA Prob/11/272/611.
354:: "the figure cut in alabaster kneels at my husband's tomb."
706:
not to further patch its medieval fabric but build it anew.
230:
A consistent private patron over a period of many years was
140:
Nicholas Stone was born in 1586, the son of a quarryman of
1466:
A Biographical Dictionary of British Architects, 1600-1840
1347:, Volume 6. p17. "Libro estraordinario" published in 1584.
1343:
Pevsner, p. 267. Pevsner is almost certainly referring to
905:
A Biographical Dictionary of British Architects, 1600-1840
713:
Goldsmiths Hall circa 1814. It was rebuilt following the
634:
555:
The similarity of the architecture to the Danby Gate (
364:
Two prominent funeral monuments, Stone's box tombs in
1364:
1362:
1147:
The younger Stone's Italian notebook is conserved in
647:
In 1637, Stone designed a new entrance porch for the
346:, and this is reflected in two of his works, both in
983:, vol. 2 (Edinburgh, 1982), pp. lxxxvi-lxxxvii, 441.
956:
Register of the Privy Council of Scotland: 1613-1616
123:
for some of the most prominent of his era that were
1426:, H. Colvin and John Harris, eds. (1970) pp. 18-29.
761:
605:, and drew his inspiration from an illustration in
300:
164:. Stone is thought to have made the portico to the
1585:A Biographical Dictionary of London Tomb Sculptors
1480:
1359:
1205:
1203:
1201:
1115:An engraving of it, after Repton, is published in
860:popular at the time. The architectural historian,
1510:
1180:The Great Rebuildings of Tudor and Stuart England
1151:. London (Platt 1994, p. 88 and fig. 34, p. 89 ).
1598:
1003:The Note-book and Account-book of Nicholas Stone
911:"Stone, Nicholas", gives 1587 as his birth year.
612:The gateway consists of three bays, each with a
1515:. New Haven and London: Yale University Press.
1229:Journal of the Warburg and Courtauld Institutes
1198:
225:
1435:W. G Spiers, 'Account Book of Nicolas Stone',
1334:"probably designed", according to Colvin 1995.
758:, rebuilt, and eventually demolished in 1829.
577:The water gate was restored during the 1950s.
498:and a collection of statues in good repair at
234:, who was modernizing his Elizabethan seat at
1529:Whinney, Margaret (revised by John Physick),
1242:
1240:
1028:
1026:
1024:
1022:
1020:
1018:
941:
939:
937:
935:
789:
506:both of whom worked on the design of Wilton.
1511:Jennifer Sherwood, Nikolaus Pevsner (1974).
1227:A. D. Harvey, "Baluster-Cornered Box Tombs"
1041:This is the explicit view of the Oxford DNB.
580:
1091:, new ed. 1840, "Biographical Notice" p. 4.
100:. In 1619 he was appointed master-mason to
1237:
1015:
1012:, 1919); noted in Oxford DNB; Colvin 1995.
932:
277:on a pedestal, all long gone, but Stone's
247:Architectural Antiquities of Great Britain
968:Register of the Privy Council of Scotland
459:, Middlesex (1623); Sir William Pope, in
443:church, Berkshire (now Oxfordshire); Sir
19:For other people with the same name, see
1559:
1475:
849:accomplished rival, the French sculptor
793:
708:
638:
584:
524:
513:
509:
471:, Suffolk (with Janssens), the composer
317:
89:(1586/87 – 24 August 1647) was an
74:
60:
52:
41:
27:
958:, vol. 10 (Edinburgh, 1891), pp. 593-4.
649:University Church of St Mary the Virgin
538:George Villiers, 1st Duke of Buckingham
387:Another of Stone's finest works is the
218:was as "master mason and architect" to
1599:
1468:3rd ed. (Yale University Press) 1995,
907:3rd ed. (Yale University Press) 1995,
1513:The Buildings of England, Oxfordshire
1218:Platt 1994:87; illus fig. 433, p. 88.
663:in Rome, which has been completed by
413:Henry Howard, 1st Earl of Northampton
82:by Nicholas Stone, Guildhall, London
970:, vol. 11 (Edinburgh, 1895), p. 65.
782:and also planned a tomb for her at
766:Stone also designed Digges chapel,
696:
635:Porch of St Mary the Virgin, Oxford
595:University of Oxford Botanic Garden
13:
1578:
1323:Architecture in Britain, 1530-1830
1266:No. 874 (January 1976), pp. 23-24.
14:
1648:
1483:Life in the English Country House
1437:7th Volume of the Walpole Society
682:, a composition considered to be
119:, but the execution of elaborate
1547:
981:Accounts of the Masters of Works
884:, was not completed until 1712.
762:Lesser architectural commissions
301:Christopher Hatton at Kirby Hall
1627:People from East Devon District
1607:17th-century English architects
1531:Sculpture in Britain: 1530-1830
1442:
1429:
1416:
1407:
1398:
1389:
1371:
1350:
1337:
1328:
1311:
1294:
1285:
1282:.4 (October 1977), pp. 415-429.
1269:
1249:
1221:
1212:
1185:
1182:(London:Routledge) 1994, p 87f.
1172:
1163:
1154:
1141:
1131:
1122:
1109:
1094:
1081:
1072:
1056:
1044:
1035:
401:Francis Vere, Earl of Middlesex
1507:. London: Thames & Hudson.
995:
986:
979:John Imrie & John Dunbar,
973:
961:
948:
923:
914:
894:
805:, attributed to Nicholas Stone
257:. Repton's drawing showed the
16:English sculptor and architect
1:
1455:
1422:John Newman, "Copt Hall", in
674:because at the centre of the
135:
1345:Tutte l'opere d'architettura
1234:(1999), pp. 287-295, p. 287.
419:(removed to Greenwich); Sir
372:Stone's 1631 monument to Dr
313:
226:Sir William Paston at Oxnead
152:, London. When the sculptor
7:
1505:Cultural History of England
1119:January 1844 article p. 21.
778:at her London townhouse in
678:was placed a statue of the
521:, often attributed to Stone
117:Banqueting House, Whitehall
10:
1653:
1065:, "Sir William Paston" in
790:Private and political life
559:) and its bold vermicelli
463:church, near Banbury; Sir
200:to decorate the chapel at
48:Victoria and Albert Museum
18:
1487:. Yale University Press.
1117:The Gentleman's Magazine,
832:
667:just four years earlier.
593:The Danby gateway to the
581:The Danby Gateway, Oxford
172:. In 1613 he returned to
1503:Halliday, E. E. (1967).
1103:The Gentleman's Magazine
887:
395:in the parish church at
187:
1570:Encyclopædia Britannica
1261:The Burlington Magazine
1149:Sir John Soane's Museum
843:St Martin-in-the-Fields
837:Nicholas Stone died at
815:St Martin-in-the-Fields
801:to the cemetery of the
359:Hatfield, Hertfordshire
182:St Martin-in-the-Fields
36:St Martin-in-the-Fields
1617:English male sculptors
1169:Ketton-Cremer 1975:22.
1078:Ketton-Cremer 1957:20.
806:
776:Mary, Countess of Home
718:
644:
590:
533:
522:
485:St Helens, Bishopsgate
327:
83:
72:
58:
50:
39:
1637:Architects from Devon
1380:Architectural History
797:
712:
642:
629:The 1st Earl of Danby
609:'s book of archways.
588:
528:
519:York House water gate
517:
510:York House water gate
427:(with Janssens); Sir
393:Elizabeth, Lady Carey
321:
78:
64:
56:
45:
31:
768:Chilham church, Kent
756:Great Fire of London
715:Great Fire of London
661:St. Peter's Basilica
477:Canterbury Cathedral
453:Thomas, Lord Knivett
431:at Hawstead church,
409:Chilham church, Kent
1277:Music & Letters
704:Goldsmiths' Company
425:London Charterhouse
397:Stowe Nine Churches
378:St Paul's Cathedral
68:by Nicholas Stone,
1404:Newman 1971 p. 32.
1395:Newman 1971 p. 33.
1368:St Mary the Virgin
1160:Platt 1988, p. 88.
1063:R.W. Ketton-Cremer
811:Hendrick de Keyser
807:
719:
691:grand Remonstrance
645:
591:
534:
523:
328:
291:Le fontane di Roma
232:Sir William Paston
121:funerary monuments
84:
73:
59:
51:
40:
1612:English sculptors
1472:"Stone, Nicholas"
1209:Halliday, p. 154.
858:Artisan Mannerism
772:Sir Dudley Digges
676:scrolled pediment
653:solomonic columns
572:Thames embankment
561:rusticated design
550:Balthazar Gerbier
530:Sebastiano Serlio
481:Sir Julius Caesar
437:William Stonhouse
366:Westminster Abbey
348:Westminster Abbey
154:Hendrik de Keyser
104:, and in 1626 to
70:Guildhall, London
1644:
1574:
1553:
1551:
1550:
1526:
1498:
1486:
1449:
1446:
1440:
1433:
1427:
1424:The Country Seat
1420:
1414:
1411:
1405:
1402:
1396:
1393:
1387:
1375:
1369:
1366:
1357:
1354:
1348:
1341:
1335:
1332:
1326:
1315:
1309:
1308:2 November 1989.
1298:
1292:
1289:
1283:
1273:
1267:
1257:Bodleian Library
1253:
1247:
1244:
1235:
1225:
1219:
1216:
1210:
1207:
1196:
1189:
1183:
1176:
1170:
1167:
1161:
1158:
1152:
1145:
1139:
1135:
1129:
1126:
1120:
1113:
1107:
1098:
1092:
1085:
1079:
1076:
1070:
1067:Norfolk Assembly
1060:
1054:
1048:
1042:
1039:
1033:
1030:
1013:
999:
993:
990:
984:
977:
971:
965:
959:
952:
946:
943:
930:
927:
921:
918:
912:
898:
878:Chatsworth House
875:William Talman's
697:Goldsmith's Hall
680:Virgin and Child
542:Banqueting House
352:Duchess of Malfi
264:Frisketting room
259:banqueting house
243:John Adey Repton
207:John Chamberlain
194:depute-treasurer
1652:
1651:
1647:
1646:
1645:
1643:
1642:
1641:
1597:
1596:
1589:Walpole Society
1581:
1579:Further reading
1565:Stone, Nicholas
1563:, ed. (1911). "
1548:
1546:
1523:
1495:
1458:
1453:
1452:
1447:
1443:
1434:
1430:
1421:
1417:
1412:
1408:
1403:
1399:
1394:
1390:
1376:
1372:
1367:
1360:
1355:
1351:
1342:
1338:
1333:
1329:
1316:
1312:
1299:
1295:
1290:
1286:
1274:
1270:
1254:
1250:
1245:
1238:
1226:
1222:
1217:
1213:
1208:
1199:
1190:
1186:
1177:
1173:
1168:
1164:
1159:
1155:
1146:
1142:
1136:
1132:
1127:
1123:
1114:
1110:
1099:
1095:
1086:
1082:
1077:
1073:
1061:
1057:
1049:
1045:
1040:
1036:
1031:
1016:
1007:Walpole Society
1000:
996:
991:
987:
978:
974:
966:
962:
953:
949:
944:
933:
928:
924:
919:
915:
899:
895:
890:
851:Hubert Le Sueur
835:
792:
764:
699:
672:Archbishop Laud
637:
583:
563:in a confident
512:
492:Newburgh Priory
473:Orlando Gibbons
469:Redgrave church
344:Arundel marbles
316:
303:
228:
216:Office of Works
202:Holyrood Palace
190:
138:
33:
24:
17:
12:
11:
5:
1650:
1640:
1639:
1634:
1629:
1624:
1619:
1614:
1609:
1580:
1577:
1576:
1575:
1561:Chisholm, Hugh
1544:
1541:
1527:
1521:
1508:
1500:
1499:
1493:
1477:Girouard, Mark
1473:
1462:Colvin, Howard
1457:
1454:
1451:
1450:
1441:
1428:
1415:
1406:
1397:
1388:
1370:
1358:
1349:
1336:
1327:
1319:John Summerson
1310:
1293:
1284:
1268:
1248:
1236:
1220:
1211:
1197:
1195:(August 2003).
1184:
1171:
1162:
1153:
1140:
1130:
1121:
1108:
1093:
1080:
1071:
1055:
1043:
1034:
1014:
994:
985:
972:
960:
954:David Masson,
947:
931:
929:Whinney, 67-80
922:
913:
892:
891:
889:
886:
834:
831:
791:
788:
763:
760:
698:
695:
684:Roman Catholic
636:
633:
582:
579:
565:Serlian manner
511:
508:
496:Blickling Hall
465:Nicholas Bacon
449:Merton College
315:
312:
308:Portland stone
302:
299:
287:Villa Ludovisi
271:Portland stone
255:Blickling Hall
227:
224:
220:Windsor Castle
189:
186:
137:
134:
87:Nicholas Stone
15:
9:
6:
4:
3:
2:
1649:
1638:
1635:
1633:
1630:
1628:
1625:
1623:
1620:
1618:
1615:
1613:
1610:
1608:
1605:
1604:
1602:
1595:
1593:
1590:
1586:
1572:
1571:
1566:
1562:
1557:
1556:public domain
1545:
1542:
1540:
1536:
1532:
1528:
1524:
1522:0-300-09639-9
1518:
1514:
1509:
1506:
1502:
1501:
1496:
1494:0-300-02273-5
1490:
1485:
1484:
1478:
1474:
1471:
1467:
1463:
1460:
1459:
1445:
1438:
1432:
1425:
1419:
1410:
1401:
1392:
1385:
1382:
1381:
1374:
1365:
1363:
1353:
1346:
1340:
1331:
1324:
1320:
1314:
1307:
1303:
1297:
1288:
1281:
1278:
1272:
1265:
1262:
1258:
1252:
1243:
1241:
1233:
1230:
1224:
1215:
1206:
1204:
1202:
1194:
1188:
1181:
1178:Colin Platt,
1175:
1166:
1157:
1150:
1144:
1134:
1125:
1118:
1112:
1105:
1104:
1097:
1090:
1087:J.C. Loudon,
1084:
1075:
1068:
1064:
1059:
1052:
1047:
1038:
1029:
1027:
1025:
1023:
1021:
1019:
1011:
1008:
1004:
1001:W.L. Spiers,
998:
989:
982:
976:
969:
964:
957:
951:
942:
940:
938:
936:
926:
917:
910:
906:
902:
901:Howard Colvin
897:
893:
885:
883:
882:Castle Howard
879:
876:
871:
867:
863:
862:Howard Colvin
859:
854:
852:
846:
844:
840:
830:
826:
824:
820:
816:
812:
804:
800:
796:
787:
786:in Scotland.
785:
781:
777:
773:
769:
759:
757:
752:
749:
745:
741:
740:Easton Neston
736:
734:
729:
724:
716:
711:
707:
705:
694:
692:
688:
685:
681:
677:
673:
668:
666:
662:
658:
654:
650:
641:
632:
630:
626:
622:
617:
615:
610:
608:
604:
600:
596:
587:
578:
575:
573:
568:
566:
562:
558:
553:
551:
547:
543:
539:
531:
527:
520:
516:
507:
505:
504:Isaac de Caus
501:
497:
493:
488:
486:
482:
478:
474:
470:
466:
462:
458:
454:
450:
446:
445:Thomas Bodley
442:
438:
434:
430:
426:
422:
421:Thomas Sutton
418:
414:
410:
406:
405:Dudley Digges
402:
398:
394:
390:
385:
383:
382:winding cloth
379:
375:
370:
367:
362:
360:
355:
353:
349:
345:
341:
340:chimneypieces
337:
333:
332:Isaac de Caus
325:
320:
311:
309:
298:
296:
292:
288:
284:
280:
276:
272:
267:
265:
260:
256:
252:
248:
244:
239:
237:
233:
223:
221:
217:
211:
208:
203:
199:
198:Gideon Murray
195:
185:
183:
179:
175:
171:
167:
163:
159:
155:
151:
147:
143:
133:
129:
126:
122:
118:
114:
109:
107:
103:
99:
95:
92:
88:
81:
77:
71:
67:
63:
55:
49:
44:
37:
30:
26:
22:
1632:1580s births
1591:
1588:
1584:
1583:Adam White,
1582:
1568:
1530:
1512:
1504:
1482:
1469:
1465:
1444:
1436:
1431:
1423:
1418:
1409:
1400:
1391:
1383:
1378:
1373:
1352:
1339:
1330:
1322:
1313:
1306:Country Life
1305:
1296:
1287:
1279:
1276:
1271:
1263:
1260:
1251:
1231:
1228:
1223:
1214:
1192:
1187:
1179:
1174:
1165:
1156:
1143:
1133:
1124:
1116:
1111:
1101:
1096:
1088:
1083:
1074:
1066:
1058:
1050:
1046:
1037:
1009:
1006:
1002:
997:
992:Newman 1971.
988:
980:
975:
967:
963:
955:
950:
945:Colvin 1995.
925:
916:
908:
904:
896:
855:
847:
836:
827:
808:
765:
753:
737:
722:
720:
700:
669:
646:
618:
611:
592:
576:
569:
556:
554:
535:
500:Wilton House
489:
479:(1626); and
429:Robert Drury
417:Dover Castle
386:
371:
363:
356:
336:Woburn Abbey
334:' grotto at
329:
304:
290:
278:
268:
263:
246:
240:
229:
212:
196:of Scotland
191:
139:
130:
110:
86:
85:
25:
1622:1647 deaths
1448:Oxford DNB.
1302:John Harris
819:Henry Stone
748:closestools
728:floor plans
657:baldacchino
621:rustication
603:Inigo Jones
125:avant-garde
113:Inigo Jones
80:Elizabeth I
1601:Categories
1539:0140561234
1456:References
1032:Oxford DNB
803:Zuiderkerk
780:Aldersgate
374:John Donne
324:John Donne
166:Zuiderkerk
136:Early life
21:Nick Stone
866:mannerist
839:Long Acre
825:in Rome.
733:mouldings
599:Palladian
546:Charles I
423:, at the
322:The poet
314:Sculpture
295:Civil War
251:parterres
178:Long Acre
170:Amsterdam
150:Southwark
106:Charles I
98:architect
66:Charles I
1594:) 1999.
1479:(1978).
784:Dunglass
717:of 1666.
687:idolatry
625:tympanum
614:pediment
457:Stanwell
279:Hercules
275:Cerberus
142:Woodbury
94:sculptor
38:, London
1558::
1317:by Sir
1051:Foedera
870:baroque
823:Bernini
799:Portico
744:Kinross
665:Bernini
461:Wroxton
433:Suffolk
283:pergola
158:Holland
144:, near
102:James I
91:English
1552:
1537:
1519:
1491:
1193:Apollo
833:Legacy
770:, for
723:ad hoc
607:Serlio
441:Radley
435:; Sir
403:; Sir
389:effigy
236:Oxnead
174:London
162:Pieter
146:Exeter
1321:, in
1138:room.
888:Notes
557:below
483:, in
475:, in
467:, in
455:, at
415:, in
376:, at
188:Works
1535:ISBN
1517:ISBN
1489:ISBN
1470:s.v.
1246:1911
909:s.v.
742:and
96:and
1567:".
1304:in
1300:by
1264:118
1100:In
868:or
659:at
447:at
439:at
407:at
391:of
168:in
34:in
1603::
1592:61
1464:,
1384:14
1361:^
1280:58
1239:^
1232:62
1200:^
1017:^
934:^
903:,
552:.
487:.
411:;
180:,
115:'
108:.
1587:(
1525:.
1497:.
1010:7
1005:(
23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
