Kimberley Skelton - The paradox of body, building and motion in seventeenth-century England

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The paradox of body, building and motion in seventeenth-century England

SERIES EDITORS

Amelia G. Jones, Marsha Meskimmon

Rethinking Arts Histories aims to open out art history from its most basic structures by foregrounding work that challenges the conventional periodisation and geographical subfields of traditional art history, and addressing a wide range of visual cultural forms from the early modern period to the present.

These books will acknowledge the impact of recent scholarship on our understanding of the complex temporalities and cartographies that have emerged through centuries of world-wide trade, political colonisation and the diasporic movement of people and ideas across national and continental borders.

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The paradox of body, building and motion in seventeenth-century England

Kimberley Skelton

Manchester University Press

Copyright Kimberley Skelton 2015

The right of Kimberley Skelton to be identified as the author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988.

Published by Manchester University Press
Altrincham Street, Manchester M1 7JA
www.manchesteruniversitypress.co.uk

British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library

Library of Congress Cataloging-in-Publication Data applied for

ISBN 978 0 7190 9580 1

First published 2015

The publisher has no responsibility for the persistence or accuracy of URLs for any external or third-party internet websites referred to in this book, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate.

Typeset in Minion with Myriad display
by Koinonia, Manchester

Contents

Figures

The plans in Figures 5, 6, 8, 21, 423, 46, 48 have often been labelled selectively to highlight the particular groups of rooms relevant to the accompanying text, as well as to reflect the spaces that can be identified with relative certainty.

Cesare Cesariano, De architectura libri dece, 1521, Vitruvian man.

Vincenzo Scamozzi, Lidea della architettura universale, 1615, house with light rays.

Thomas Dekker, The Ravens Almanacke, 1609, astrological diagram of the human body.

John Shute, The First and Chief Groundes of Architecture, 1563, Doric Order.

John Thorpe, Burley-on-the-Hill, c. 1620, ground-floor plan, in John Thorpes sketchbook.

Sir George St Pauls house, c. 1600, ground- and first-floor plans, in John Thorpes sketchbook.

Robert Smythson, Wollaton Hall, Nottinghamshire, 15808, entrance faade.

Slaugham, as altered by John Thorpe, c. 1600, ground-floor plan, in John Thorpes sketchbook.

William Lawson, A New Orchard and Garden, 1618 (1631 edn.), house and garden.

James Howell, Dodonas Grove, 1644, title page.

Sebastiano Serlio, The First Booke of Architecture, Made by SebastianSerly, Entreating of Geometry, 1611. Title page.

Leonard Digges, A Booke Named Tectonicon, 1585, title page.

Giacomo Barozzi da Vignola, Regola delli cinque ordini darchitettura, 1563, Doric Order.

Giacomo Barozzi da Vignola, Vignola, or the Compleat Architect, 1655, title page.

Giacomo Barozzi da Vignola, Vignola, or the Compleat Architect, 1655, Doric Order.

Giacomo Barozzi da Vignola, Vignola, or the Compleat Architect, 1655, Atlantid from Doric portal in Wendel Dietterlins Architectura.

Giacomo Barozzi da Vignola, The Regular Architect, 1669, Doric Order.

John Webb, House plans from architectural books, mid-seventeenth century.

John Webb, House plans from architectural books, mid-seventeenth century, detail with plans from Inigo Jones and Peter Paul Rubens, Palazzi di Genova.

Peter Paul Rubens, Palazzi di Genova, 1622, Figure 14.

John Webb, House plans from architectural books, mid-seventeenth century, detail of Rubens, Palazzi di Genova, Figure 14.

Roland Frart, sieur de Chambray, A Parallel of the Antient Architecture with the Modern, 1664, comparison of Serlios and Vignolas Ionic Orders.

John Webb, Amesbury, Wiltshire, 165964, from Colen Campbell, Vitruvius Britannicus, or The British Architect, Vol. 3.

Raynham Hall, Norfolk, c. 1635, garden faade.

Inigo Jones, Queens House, Greenwich, 161635, south faade.

Vincenzo Scamozzi, Lidea della architettura universale, 1615, Villa Molin.

Robert Smythson, Wollaton Hall, Nottinghamshire, 15808, rooftop walk.

John Webb, The Vyne, Hampshire, 16547, garden faade.

John Webb, The Vyne, Hampshire, 16547, view through portico.

John Webb, Belvoir Castle, Leicestershire, c. 1655, entrance or garden faade (the faades are identical).

Peter Mills, Thorpe Hall, Cambridgeshire, 16547, entrance faade.

John Webb, Hale Park hunting lodge, Wiltshire, first design, c. 1638, entrance faade.

John Webb, Lamport Hall, Northamptonshire, 16547, entrance faade, late seventeenth-century drawing.

Hugh May, Eltham Lodge, London, 16634, entrance faade.

Sir Roger Pratt, Horseheath, Cambridgeshire, begun 1663, entrance faade, from Colen Campbell, Vitruvius Britannicus, or The British Architect, Vol. 3.

Inigo Jones, Princes Lodging, Newmarket, 1619, entrance faade.

Pieter Post, Huis ten Bosch, the Hague, begun 1645, garden faade, from Pieter Post, Ouvrages darchitecture ordonnez par Pierre Post.

Sir Roger Pratt, Coleshill, Oxfordshire, begun c. 1650.

Henry Winstanley, Advertisement, c. 1670s.

Daniel King, The Vale-Royall of England, 1656, Crew Hall.

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