query: who painted the nine compartments in the ceiling of the banqueting house whitehall palace in england

pos: Banqueting House, Whitehall the ceiling having been completely remodelled to frame the various sections. The subject, commissioned by the King, was the glorification of his father, titled "The Apotheosis of James I," and was an allegory of his own birth. To the King's chagrin Rubens took his knighthood and decamped back to Antwerp, leaving Anthony van Dyck, lured not only with a knighthood but also a pension and a house, to remain in England as the court painter. The panels for the ceiling were all painted in Rubens' atelier in Antwerp and sent to London by ship. Inigo Jones later designed another double-cube

pos: Inigo Jones Banqueting House in the Palace of Whitehall was built, a design derived from buildings by Scamozzi and Palladio, to which a ceiling painted by Peter Paul Rubens was added several years later. The Whitehall palace was one of several projects where Jones worked with his personal assistant and nephew by marriage John Webb. The Queen's Chapel, St. James's Palace, was built between 1623 and 1627, for Charles I's Roman Catholic wife, Henrietta Maria. Parts of the design originate in the Pantheon of ancient Rome and Jones evidently intended the church to evoke the Roman temple. These buildings show the realisation

pos: Palace of Whitehall died there in January 1547. In 1611, the palace hosted the first known performance of William Shakespeare's play "The Tempest". James VI and I made significant changes to the buildings, notably the construction in 1622 of a new Banqueting House built to a design by Inigo Jones to replace a series of previous banqueting houses dating from the time of Elizabeth I. Its decoration was finished in 1634 with the completion of a ceiling by Sir Peter Paul Rubens, commissioned by Charles I (who was to be executed in front of the building in 1649). By 1650 Whitehall Palace was

pos: Banqueting House, Whitehall the ceiling having been completely remodelled to frame the various sections. The subject, commissioned by the King, was the glorification of his father, titled "The Apotheosis of James I," and was an allegory of his own birth. To the King's chagrin Rubens took his knighthood and decamped back to Antwerp, leaving Anthony van Dyck, lured not only with a knighthood but also a pension and a house, to remain in England as the court painter. The panels for the ceiling were all painted in Rubens' atelier in Antwerp and sent to London by ship. Inigo Jones later designed another double-cube

pos: Banqueting House, Whitehall The new King was a great patron of the arts—he added to the Royal Collection and encouraged the great painters of Europe to come to England. In 1623 he visited Spain where he was impressed by Titian, Rubens, and Velázquez. It became his ambition to find a comparable painter for his own court. Rubens while in England as a diplomat was asked to design and paint the Banqueting House ceiling which was sketched in London but completed at his studio in Antwerp due to the scale of the job. It was probably commissioned in 1629-30, and finally installed in 1636,

pos: Luminalia to be the queen of brightness." The sheer abundance of illumination forced a change of venue for the masque's performance. Masques were usually staged in the Banqueting House at Whitehall Palace—but it was feared that the new Rubens murals on the ceiling there would be damaged by candle soot. "Luminalia" was moved to a temporary structure, which Puritan detractors dubbed "the Queen's dancing barn." The text of the masque was published shortly after its 1638 performance, in a quarto printed by J. Haviland for the bookseller Thomas Walkley, with the fulsome title "Luminalia or the Festivall of Light Personated in

pos: Giovanni Battista Cipriani Cleopatra," after Benvenuto Cellini; "The Descent of the Holy Ghost," after Gabbiani; and portraits for Thomas Hollis's memoirs, 1780. He painted allegorical designs for the Gold State Coach and the Lord Mayor's Gold Coach, built in 1762 and 1757 respectively in 1782, and repaired Verrio's paintings at Windsor and Rubens's ceiling in the Banqueting House at Whitehall. He also decorated furniture. He designed many groups, of nymphs and amorini and medallion subjects to form the centre of Pergolesi's bands of ornament, and they were continually reproduced upon the elegant satin-wood furniture which was growing popular in his later days and

pos: Peter Paul Rubens "Assumption of the Virgin Mary" (1625–6) for the Cathedral of Antwerp is one prominent example. Rubens's last decade was spent in and around Antwerp. Major works for foreign patrons still occupied him, such as the ceiling paintings for the Banqueting House at Inigo Jones's Palace of Whitehall, but he also explored more personal artistic directions. In 1630, four years after the death of his first wife Isabella, the 53-year-old painter married his first wife's niece, the 16-year-old Hélène Fourment. Hélène inspired the voluptuous figures in many of his paintings from the 1630s, including "" (Kunsthistorisches Museum, Vienna), "" and "The

pos: Anthony Brand, 6th Viscount Hampden Jacob and his sons which Francisco de Zurbarán (1598–1664) had painted in 1640. Glynde is home not only a fine portrait of the Prince-Bishop by Thomas Hudson but to the "Apotheosis of King James I" (1629–1630), a 37.5 x 25 inches oil-on-wood sketch Rubens (1577-1640) made as preparation for his Banqueting House (Whitehall, Westminster) ceiling scheme. With some associated sketches it has been on loan (number L79) to the National Gallery since 1981. That picture had been acquired by Bishop Trevor's elder brother, Robert (1706–83), or by one of his nephews, the 2nd and 3rd (and last) viscounts Hampden (first

pos: Charles I of England I's eldest son, Charles II, in 1660. Partly inspired by his visit to the Spanish court in 1623, Charles became a passionate and knowledgeable art collector, amassing one of the finest art collections ever assembled. In Spain, he sat for a sketch by Velázquez, and acquired works by Titian and Correggio, among others. In England, his commissions included the ceiling of the Banqueting House, Whitehall, by Rubens and paintings by other artists from the Low Countries such as van Honthorst, Mytens, and van Dyck. His close associates, including the Duke of Buckingham and the Earl of Arundel, shared his interest

pos: Oliver Millar of art he visited in public and private collections and indexed them by artist and collection. These journals, written between 1945 and 2006, as well as Millar's general research papers are kept in the Paul Mellon Centre's archive. He was appointed Surveyor Emeritus and advanced to GCVO on his retirement in 1988. He wrote the chapter on Van Dyck's English period for "Van Dyck, A Complete Catalogue of the Paintings", published in 2004. In 2008, the Tate gallery purchased, with the help of the Art Fund, a sketch by Peter Paul Rubens for the Banqueting House ceiling in Whitehall in

pos: The View from The Shard trains running underneath in real time. An innovative lift service system was created for The Shard by KONE engineering. Guests travel in two lifts going up and two lifts going down. These lifts travel at six metres per second, making the total time to go from Level 1 to Level 68 about a minute. The ascending lifts use video screens and mirrors to create the effect of rising through iconic ceilings and roofs of London, including the dome of St Paul’s Cathedral, the Rubens ceiling at the Banqueting House in Whitehall, the spiral staircase at Monument, and the British Museum’s

pos: Anthony van Dyck was stronger than for other types of work. Van Dyck tried to persuade Charles to commission him to do a large-scale series of works on the history of the Order of the Garter for the Banqueting House, Whitehall, for which Rubens had earlier done the huge ceiling paintings (sending them from Antwerp). A sketch for one wall remains, but by 1638 Charles was too short of money to proceed. This was a problem Velázquez did not have, but equally van Dyck's daily life was not encumbered by trivial court duties as Velázquez's was. In his visits to Paris in his

neg: Banqueting House, Whitehall Banqueting House, Whitehall The Banqueting House, Whitehall, is the grandest and best known survivor of the architectural genre of banqueting house and the only remaining component of the Palace of Whitehall. The building is important in the history of English architecture as the first structure to be completed in the neo-classical style, which was to transform English architecture. Begun in 1619 and designed by Inigo Jones in a style influenced by Andrea Palladio, the Banqueting House was completed in 1622 at a cost of £15,618, 27 years before King Charles I of England was beheaded on a scaffold in front

neg: Banqueting House, Whitehall should be the "biggest palace in Christendom", a place befitting his newly created status as the Supreme Head of the Church of England. All evidence of the disgraced Wolsey was eliminated and the building rechristened the "Palace of Whitehall". During Henry's reign, the palace had no designated banqueting house, the King preferring to banquet in a temporary structure purpose-built in the gardens. The Keeper of the Banqueting House was a position enhanced by Queen Mary I by designating it in relation to a building of the same name at Nonsuch Palace, near the south edge of Greater London, which has

neg: Banqueting House, Whitehall from the Renaissance and that of Andrea Palladio, and returned to England with what were, at the time, revolutionary ideas: to replace the complicated and confused style of the Jacobean English Renaissance with a simpler, classically inspired design. His new banqueting house at Whitehall was to be a prime example. Jones made no attempt to harmonise his design with the Tudor palace of which it was to be part. The design of the Banqueting House is classical in concept. It introduced a refined Italianate Renaissance style that was unparalleled in the free and picturesque Jacobean architecture of England, where Renaissance

neg: Banqueting House, Whitehall motifs of the Banqueting House throughout England, with varying degrees of competence. Examples of the style's popularity can be found throughout England; the then-remote county of Somerset alone contains three 17th-century versions of the Banqueting House: Brympton d'Evercy, Hinton House, and Ashton Court. Following the fall of the monarchy, Jones' career was effectively ended, his style seen as royalist. He died in 1652, never having seen the popularity of the architectural concepts he introduced. James II was the last monarch to live at Whitehall; William III and Mary II preferred to live elsewhere and eventually reconstructed Hampton Court Palace. Following

neg: Banqueting House, Whitehall and included the skeleton of Napoleon's horse. The museum closed in 1962, and the great south window, closed up by the RUSI, was restored. Today, the banqueting hall is open for tours and use as a venue space. The Electric Light Orchestra shot the cover photographs for their debut album here, in 1971. Banqueting House, Whitehall The Banqueting House, Whitehall, is the grandest and best known survivor of the architectural genre of banqueting house and the only remaining component of the Palace of Whitehall. The building is important in the history of English architecture as the first structure to be

neg: Architecture of Chiswick House Gallery was designed as a statue Gallery and if in Italy this series of rooms would have been a "loggia" (a room open to the elements on one or more sides). The distinctive nine-panelled compartmentalised ceiling is a conflation of two ceilings derived from The Queen's House at Greenwich and The Banqueting House at Whitehall, both designed by Inigo Jones and both Royal apartments. The central painting, by the Venetian artist Sebastiano Ricci (1659–1734), is a close copy of Paolo Veronese's (c.1528–88) ‘The Defense of Scutari’ located in the Doge's Palace, Venice. The side paintings, believed to be by William

neg: Banqueting House, Whitehall Whitehall in which his banqueting house was to be incorporated as one wing enclosing a series of seven courtyards, visible on the monumental main façade as only a small flanking wing. These revealed the ideas behind Jones' concept of Palladianism. However, King Charles I, who commissioned the plans, never amassed the resources to execute them; his lack of funds and the tensions that eventually led to the Civil War intervened and the plans were permanently shelved. In January 1698, the Tudor Palace was razed by fire that raged for 17 hours. All that remained was the Banqueting House, Whitehall Gate,

neg: Banqueting house in a special place away from the main dining place, the relevant sense here (Whitehall apart). In large meals a banqueting house was most likely to be used for eating dessert, if reasonably close to the main house. Otherwise it might be used on fine days for taking tea, or any kind of drink, snack or meal. The best known example, though far larger than most, is the Banqueting House on Whitehall, once part of Whitehall Palace. This is a grand dining hall for full formal meals, and what may be called in distinction a banqueting hall. Such buildings were

neg: The Masque of Augurs performed in the new Banqueting House in Whitehall Palace, designed and built by Inigo Jones after the previous wooden structure burned down in January 1619. Still standing, the Banqueting House at Whitehall is often considered Jones's architectural masterpiece, and was the scene of many subsequent masques at the Stuart Court. Jonson's text was published in quarto in 1622, shortly after its first performance. (The quarto is dated "1621," meaning it was issued prior to 25 March, the old New Year's Day in England. See: Old Style and New Style dates.) The masque was reprinted in the second folio collection of

neg: Banqueting House, Whitehall Devonshire mason who had trained in Holland. It has been said that, until this time, English sculpture resembled that described by the Duchess of Malfi: "the figure cut in alabaster kneels at my husband's tomb." Like Inigo Jones, Stone was well aware of Florentine art and introduced to England a more delicate classical form of sculpture inspired by Michelangelo's Medici tombs. This is evident in his swags on the street façade of the Banqueting House, similar to that which adorns the plinth of his Francis Holles memorial. In 1638, Jones drew the designs for a new and massive palace at

neg: Banqueting House, Whitehall and Holbein Gate. Christopher Wren and Nicholas Hawksmoor were asked to design a new palace, but nothing came of the scheme. It has been said that the widowed King William III never cared for the area, but, had his wife, Mary II, been alive, with her appreciation of the historical significance of Whitehall, he would have insisted on the rebuilding. The term "Banqueting House" was something of a misnomer. The hall within the house was, in fact, used not only for banqueting, but also royal receptions, ceremonies, and the performance of masques. The entertainments given there would have been among

neg: Banqueting House, Whitehall of it in January 1649. The building was controversially re-faced in Portland stone in the 19th century, though the details of the original façade were faithfully preserved. Today, the Banqueting House is a national monument, open to the public and preserved as a Grade I listed building. It is cared for by an independent charity—Historic Royal Palaces—which receives no funding from the British Government or the Crown. The Palace of Whitehall was the creation of King Henry VIII, expanding an earlier mansion that had belonged to Cardinal Wolsey, known as York Place. The King was determined that his new palace

neg: Banqueting House, Whitehall the fire which destroyed Whitehall Palace, the Banqueting Hall became redundant for the purpose for which it was designed, and it was converted to a chapel to replace the Chapel Royal of Whitehall, which had been destroyed in the fire and was used to host concerts. It remained a chapel before being given to the Royal United Services Institute by Queen Victoria in 1893. Highly controversial plans to partition the large mansion house space in the service of offices for the Institution were quickly dropped in favour of the creation of a museum which displayed personal items of famous commanders

neg: Palace of Whitehall Palace of Whitehall The Palace of Whitehall (or Palace of White Hall) at Westminster, Middlesex, was the main residence of the English monarchs from 1530 until 1698, when most of its structures, except for Inigo Jones's Banqueting House of 1622, were destroyed by fire. It had at one time been the largest palace in Europe, with more than 1,500 rooms, overtaking the Vatican, before itself being overtaken by the expanding Palace of Versailles, which was to reach 2,400 rooms. The palace gives its name, Whitehall, to the street on which many of the current administrative buildings of the present-day British

neg: Whitehall Christopher Wren. In 1698, most of the palace burned to the ground accidentally after a fire started by a careless washerwoman. Wallingford House was constructed in 1572 by William Knollys, 1st Earl of Banbury along the western edge of Whitehall. It was subsequently used by Charles I. During the reign of William III, it was bought for the Admiralty. The Old Admiralty Buildings now sit on the house's site. Banqueting House was built as an extension to the Palace of Whitehall in 1622 by Inigo Jones. It is the only surviving portion of the palace after it was burned down,

neg: Palace of Whitehall damage to the structure and it now rests within the basement of the building. A number of marble carvings from the former chapel at Whitehall (which was built for James II) can now be seen in St. Andrew's Church, Burnham-on-Sea, in Somerset, to where they were moved in 1820 after having originally been removed to Westminster Abbey in 1706. Palace of Whitehall The Palace of Whitehall (or Palace of White Hall) at Westminster, Middlesex, was the main residence of the English monarchs from 1530 until 1698, when most of its structures, except for Inigo Jones's Banqueting House of 1622, were

neg: Whitehall taken from the Palace of Whitehall that was the residence of Kings Henry VIII through to William III, before its destruction by fire in 1698; only the Banqueting House survived. Whitehall was originally a wide road that led to the front of the palace; the route to the south was widened in the 18th century following the destruction of the palace. As well as government buildings, the street is known for its memorial statues and monuments, including Britain's primary war memorial, the Cenotaph. The Whitehall Theatre, now the Trafalgar Studios, has been popular for farce comedies since the mid-20th century.

neg: Privy Garden of the Palace of Whitehall unknown; it was last recorded standing at Buckingham House (later Buckingham Palace) in 1710. After the destruction by fire of the Palace of Whitehall in 1698, the surroundings of the Privy Garden changed dramatically. Most of the palace buildings had been burned down in the 1698 fire; others were torn down as the last vestiges of the old Tudor and Stuart Palace were removed. With the demise of the Privy Gallery, the Privy Garden was extended north to include the Pebble Court behind the Banqueting House. The garden remained in Crown ownership but it became neglected and filthy with the

neg: Palace of Whitehall westward spread of the flames. John Evelyn noted succinctly on 5 January: "Whitehall burnt! nothing but walls and ruins left." Beside the Banqueting House, some buildings survived in Scotland Yard and some facing the park, along with the so-called Holbein Gate, eventually demolished in 1769. During the fire many works of art were destroyed, probably including Michelangelo's "Cupid", a famous sculpture bought as part of the Gonzaga collections in the seventeenth century. Also lost were Hans Holbein the Younger's iconic mural "Portrait of Henry VIII" and Gian Lorenzo Bernini's marble portrait bust of King Charles I. The Banqueting House is

neg: Mount Lavinia Hotel plans. Mount Lavinia was to be his ultimate creation; a magnificent residence fit for the Grand Master, such as Versailles was to Louis XIV". British military engineers redesigned the house on the lines of an Italian villa. Captain Edward Sanderson of the Royal Engineers, was the designer and master builder under Barnes’ watchful eye. The building was modelled on the ‘Banqueting House’ in Whitehall, a creation of architect Inigo Jones, also known as the ‘English Palace’. The Banqueting House was refurbished by architect Sir John Soane. "Not only does the date of the refacing of the Banqueting House coincide perfectly

neg: Holbein Gate Holbein Gate The Holbein Gate was a monumental gateway across Whitehall in Westminster, constructed in 1531-2 in the English Gothic style. The Holbein Gate and a second less ornate gate, Westminster Gate, were constructed by Henry VIII to connect parts of the Tudor Palace of Whitehall to the east and west of the road. It was one of two substantial parts of the Palace of Whitehall to survive a catastrophic fire in January 1698, the other being Inigo Jones's classical Banqueting House. The Holbein Gate was described by Thomas Pennant as "the most beautiful gate at Whitehall". It was demolished

neg: Privy Garden of the Palace of Whitehall had been redesigned in a grid pattern with sixteen squares of grass separated by paths. The relentless expansion of the Palace of Whitehall, which was by now a sprawling jumble of structures, had hemmed in the Privy Garden behind walls and buildings on all sides. A high wall to the west separated it from The Street, the main thoroughfare at the south end of Whitehall that bisected the palace in a north-south direction. To the north, a range of buildings occupied by high-ranking courtiers separated it from the Pebble Court that lay behind the Banqueting House, while to the east

neg: Thomas Povey in the Royal Hospital Chelsea, under a Royal Warrant of 22 December 1681. Povey had apartments in Whitehall Palace by virtue of his Crown posts. Robert Streater painted a ceiling in Povey's London house, on the west side of Lincoln's Inn Fields; there John Evelyn visited him in July 1664: Went to see Mr Povey's elegant house in Lincolns-Inn-Fields , where the perspective in his court, painted by Streater, is indeed excellent, with the vases painted in imitation of porphy and fountains... Pepys noted with approval Povey's neatly fitted up stables, lined with washable Delft tiles. Povey also inherited from

neg: Whitehall and was the first Renaissance building in London. It later became a museum to the Royal United Services Institute and has been opened to the public since 1963. Oliver Cromwell moved to the street in 1647, taking up residence in Wallingford House. Two years later, Charles I was carried through Whitehall on the way to his trial at Westminster Hall. Whitehall itself was a wide street and had sufficient space for a scaffold to be erected for the King's execution at Banqueting House. He made a brief speech there before being beheaded. Cromwell died at the Palace of Whitehall in

neg: Palladian architecture England built between 1640 and c. 1680, such as Wilton House, are in this Palladian style. These follow the great success of Jones' Palladian designs for the Queen's House at Greenwich and the Banqueting House at Whitehall, the uncompleted royal palace in London of King Charles I. However, the Palladian designs advocated by Inigo Jones were too closely associated with the court of Charles I to survive the turmoil of the civil war. Following the Stuart restoration Jones's Palladianism was eclipsed by the baroque designs of such architects as William Talman and Sir John Vanbrugh, Nicholas Hawksmoor, and even Jones'

neg: Declaration of Lex Talionis a "tyrant, traitor, murderer and public enemy". He was beheaded on a scaffold in front of the Banqueting House of the Palace of Whitehall on 30 January 1649. Parliament did not consider this restraint as binding on their treatment of any Irish Catholics who might cross the Irish Sea to fight in England and in 1644 they passed the "Ordinance of no quarter to the Irish" when it looked possible that the Confederation of Kilkenny would send an army to assist Charles I. The terms of the ordinance as the name suggests decree that no quarter should be given on

neg: Chilham Castle master mason who had worked under Jones' direction at Holyrood Palace in 1616, and at the Whitehall Banqueting House, was commissioned to add a funerary chapel to Chilham church for Sir Dudley Digges, to contain Stone's funerary monument to Lady Digges, in 1631-32; if any traces of the manner of Jones were discernible at Chilham Castle, Nicholas Stone might be considered as a candidate. It is, nevertheless, one of the finer mansions in the south-east of England and commands exceptional views across the valley of the River Stour, Kent. The gardens, said originally to have been laid out by John

neg: Royal Collection at buildings in London which fall under the remit of the Historic Royal Palaces agency: the Tower of London, Hampton Court Palace, Kensington Palace, Banqueting House (Whitehall), and Kew Palace. The Jewel House and Martin Tower at the Tower of London also house the Crown Jewels. A rotating selection of art, furniture, jewellery, and other items considered to be of the highest quality is shown at the Queen's Gallery, a purpose-built exhibition centre near Buckingham Palace. Many objects are displayed in the palace itself, the state rooms of which are open to visitors for much of the year, as well

neg: Ministry of Defence Main Building (United Kingdom) fit for purpose and had become expensive to maintain. A major refurbishment was therefore undertaken between 2000 and 2004 through a contract under the private finance initiative. Comprising a site of , the building is located on Whitehall within the City of Westminster, central London. Whitehall is lined with numerous government departments and offices and is close to the Houses of Parliament. The street of Whitehall is locate to the west. Between Whitehall and Main Building is Banqueting House which is the only remaining component of the Palace of Whitehall. To the north is Horse Guards Avenue. The street is

neg: Pocahontas he was still alive. Smith did not meet Pocahontas, but wrote to Queen Anne, the wife of King James, urging that Pocahontas be treated with respect as a royal visitor. He suggested that if she were treated badly, her "present love to us and Christianity might turn to ... scorn and fury", and England might lose the chance to "rightly have a Kingdom by her means". Pocahontas was entertained at various social gatherings. On January 5, 1617, she and Tomocomo were brought before the king at the old Banqueting House in the Palace of Whitehall at a performance of Ben

neg: Shell grotto of the shell grotto type, mimicking a sea-cave, or in the form of a nymphaeum; later there was a move towards more naturalistic cave-like grottoes. The first recorded shell grotto in England was at Whitehall Palace; James I had it built in the undercroft of the Banqueting House in 1624, but it hasn't survived. Two years later the Duke of Bedford had a shell room built at Woburn Abbey, featuring shell mosaics and carved stone. This, and another at Skipton Castle, built in 1627, are the only surviving examples from the 17th century. Shell grottoes were an expensive luxury: The

neg: Privy Garden of the Palace of Whitehall Privy Garden of the Palace of Whitehall The Privy Garden of the Palace of Whitehall was a large enclosed space in Westminster, London, that was originally a pleasure garden used by the late Tudor and Stuart monarchs of England. It was created under Henry VIII and was expanded and improved under his successors, but lost its royal patronage after the Palace of Whitehall was almost totally destroyed by fire in 1698. From the start of the 18th century onwards, the garden went through major changes as it fell into neglect. It was painted in 1747 by Canaletto during a period

neg: Lucy Worsley Chief Curator at Historic Royal Palaces, the independent charity responsible for maintaining the Tower of London, Hampton Court Palace, Kensington Palace State Apartments, the Banqueting House in Whitehall and Kew Palace in Kew Gardens. She oversaw the £12 million refurbishment of the Kensington Palace state apartments and gardens. In 2005 she was elected a senior research fellow at the Institute of Historical Research, University of London; she was also appointed visiting professor at Kingston University. In 2011 she presented the four-part television series ' exploring the history of British homes, from peasants' cottages to palaces; and the three-part series '.

neg: Renaissance architecture designs adorning the walls. The new style tended to manifest itself in large square tall houses such as Longleat House. The first great exponent of Italian Renaissance architecture in England was Inigo Jones (1573–1652), who had studied architecture in Italy where the influence of Palladio was very strong. Jones returned to England full of enthusiasm for the new movement and immediately began to design such buildings as the Queen's House at Greenwich in 1616 and the Banqueting House at Whitehall three years later. These works, with their clean lines, and symmetry were revolutionary in a country still enamoured with mullion

neg: Banqueting House, Whitehall lived in "splendour and state", or publicly. The less exalted and the general public would be permitted to crowd the gallery in order to watch the King dine. The lower status of those in the gallery was emphasised by the lack of an internal staircase, the gallery only being accessible by an external staircase. The building was, however, later extended to accommodate an internal staircase. James I, for whom the Banqueting House was created, died in 1625 and was succeeded by his son, Charles I. The accession of Charles I heralded a new era in the cultural history of England.

neg: Banqueting House, Whitehall the finest in Europe, for, during this period, England was considered the area's leading musical country. On 5 January 1617, Pocahontas and Tomocomo were brought before the King at the Banqueting House, at a performance of Ben Jonson's masque The Vision of Delight. According to John Smith, James I was so unprepossessing, neither of the natives realized whom they had met until it was explained to them afterward. Such masques were later augmented with French musicians, whom Queen Henrietta Maria, the wife of Charles I, brought to the court. The masques began a slow decline, however, after the death in

neg: Croatian art Catholic church, "Maria of the Snow" in "Belec" from 1740 the entire interior is filled with lively gilded wooden sculptures, frescoes by painter Ivan Ranger from the Roman Catholic Habsburg Austro-Hungarian Empire. Ranger was a classic Rococo painter whose characters were softly painted in graceful positions with optimism and cheerful colors. He also lavishly painted the Roman Catholic Gothic church in Lepoglava, and the ceiling of the Banqueting Hall of "Bistra Palace" which is one of most beautiful elliptic plans in profane architecture. An exchange of artists between Croatia and other parts of Europe happened. The most famous Croatian painter

neg: Giovanni Battista Cipriani designed the Albany in London for Lord Holland, Cipriani painted a ceiling. He also painted part of a ceiling in Buckingham House, and a room with poetical subjects at Standlynch in Wiltshire. At Somerset House, also built by his friend Chambers, he prepared the decorations for the interior of the north block, including the rooms into which the Royal Academy moved in 1750, which now houses the Courtauld Gallery The central panel of the Royal Academy's ante-room was painted by Sir Joshua Reynolds but the four compartments in the coves, representing Allegory, Fable, Nature and History, were Cipriani's. In the

neg: History of architecture Cour Carree of the Louvre in Paris was designed by Lescot and covered with exterior carvings by Jean Goujon. Architecture continued to thrive in the reigns of Henry II and Henry III. In England the first great exponent of Renaissance architecture was Inigo Jones (1573–1652), who had studied architecture in Italy where the influence of Palladio was very strong. Jones returned to England full of enthusiasm for the new movement and immediately began to design such buildings as the Queen's House at Greenwich in 1616 and the Banqueting House at Whitehall three years later. These works with their clean lines

neg: Banqueting House, Whitehall since been demolished and instead marks the site of a footpath junction of the London Loop. This house was used to entertain the French agent in London and ambassador Gilles de Noailles and his wife in 1556. The first permanent banqueting house at Whitehall had a short life. It was built for King James I, but was destroyed by fire in January 1619, when workmen, clearing up after New Year's festivities, decided to incinerate the rubbish inside the building. An immediate replacement was commissioned from the fashionable architect Inigo Jones. Jones had spent time in Italy studying the architecture evolving

neg: Shackleford from the Old Banqueting Hall at Whitehall Palace. Meanwhile, Hurtmore Manor was held by Sir Edward More of Odiham who before his death in 1623 left this to his daughter and her husband Sir William Staunton, recusant convict, and stating he should have the house free of rent for life — the manor was sold by later relatives to executors of Simon Bennett of Calverton, one of the daughters of whom married James Cecil, 4th Earl of Salisbury (when still styled by the courtesy title Viscount Cranborne) and his son James Cecil, 5th Earl of Salisbury inherited the share of

neg: Tomocomo that the Powhatan people were devil-worshippers and tried to persuade Tomocomo to take up Christianity, but Tomocomo said he was too old to learn new ways. Pocahontas and Tomocomo were never given a formal audience before King James. However, on January 5, 1617 they were brought before the King at the Banqueting House in Whitehall Palace, at a performance of Ben Jonson's masque "The Vision of Delight". However, according to Smith, Tomocomo did not realize who they had met until it was explained to him afterward. Tomocomo was disappointed that the King did not offer a present, saying to Smith

neg: Robert Streater but the figures are too near the eye" (the paintings were afterwards removed to Marden, near Godstone). Again in 1679 Evelyn noted that some of Streater's best paintings were at Mr. Boone's (or Bohun's) house, Lee Place, Blackheath. Streater's paintings in the ceiling of the Sheldonian Theatre at Oxford were eulogised by poetaster, Robert Whitehall (1625–85) in his poem 'Urania': Streater also painted part of the chapel at All Souls', Oxford and ceilings at Whitehall, in London. Little of his decorative work now remains, except the ceiling of the Sheldonian Theatre at Oxford, which was restored in 1762 by Tilly

neg: High Court of Justice for the trial of King Charles I This was eventually signed by 59 of the Commissioners, including two who had not been present when the sentence was passed. King Charles was beheaded in front of the Banqueting House of the Palace of Whitehall on 30 January 1649. He declared that he had desired the liberty and freedom of the people as much as any; "but I must tell you that their liberty and freedom consists in having government... It is not their having a share in the government; that is nothing appertaining unto them. A subject and a sovereign are clean different things." Francis Allen arranged payments

neg: Pleasure Reconciled to Virtue of "Pleasure Reconciled." Jonson continued as the Court's primary author of masques for more than a decade, and Jones designed the masques for an even longer period. When the Whitehall Banqueting House burned down in January 1619, Jones replaced it with a building that is widely considered his masterpiece in architecture (see: Banqueting House, Whitehall). Jonson's text for the masque was first published in the second folio of his collected works in 1641. That text ends with the claim that the masque "pleased the King so well, as he would see it again" — one of the more outrageous fabrications

neg: Henry Powle indignantly summoned them to the banqueting-room at Whitehall Palace. After their return to the House Powle stood up, but Sir Edward Seymour, the Speaker, informed him that the house was adjourned by the king's pleasure. Powle insisted, and the Speaker sprang out of the chair and, after a struggle, got away. On their re-assembling five days later Powle declared that the whole liberty of the house was threatened by the Speaker's conduct. In May 1678, when Charles sent a message to the house to hasten supply, Powle once more insisted on the prior consideration of grievances. Powle supported the impeachment

neg: Giacomo Leoni Hall survives today as an hotel; the owners still tell the story of the forgetful architect. Among Leoni’s other designs is Alkrington Hall in Middleton, now in Greater Manchester. Leoni also designed the longtime US Consolate building in Istanbul, the Palazzo Corpi. Leoni was not the first to import Palladian Architecture to England; that accolade belongs firmly to Inigo Jones, who had designed the Palladian Queen's House at Greenwich in 1616 and the more ornate Banqueting House in Whitehall in 1619. Nor was he the only architect practising the concept during the Palladianism. William Kent designed Holkham Hall in 1734

neg: Palace of Whitehall to dry. The linen caught fire and the flames quickly spread throughout the palace complex, raging for 15 hours before firefighters could extinguish it. The following day, the wind picked up and re-ignited the fire further north. Christopher Wren, then the King's Surveyor of Works, was ordered expressly by William III to focus manpower on saving the architectural jewel of the complex, the Banqueting House. Wren ordered bricklayers to block-up the main window on the building's south side to block the flames from entering. Around 20 buildings were destroyed to create a firebreak, but this did little to inhibit the

neg: Banqueting House, Whitehall room at Wilton House, to display Van Dyck's portraits of the aristocratic Pembroke family. Given the attention and effort which were lavished by Charles I on the Banqueting House, his end was not without irony. On the afternoon of 30 January 1649 he stepped out of a first floor window of Banqueting House onto the scaffold which had been erected outside for the purpose of his execution. The actual window no longer exists as it was not in the main hall but just outside it in an adjacent part of the building which has now gone and, pictured from the

neg: Croatian art also lavishly painted the gothic church in Lepoglava, and ceiling of Banqueting Hall of "Bistra Palace" (one of most beautiful elliptic plans in profane architecture). Wall painting experienced flourishing in all parts of Croatia, from illusionist frescoes in "church of Holy Mary" in Samobor, St Catherine in Zagreb to Jesuit church in Dubrovnik. Best preserved ones are Rococo frescoes in "Miljana mansion" where allegorical seasons and natural elements were depicted through human nature and his reflection on art. Baroque towers and bastions were incorporated into the old walls of Dalmatian cities, like the ones in Pula, Šibenik or Hvar. The

neg: The Masque of the Inner Temple and Gray's Inn The Masque of the Inner Temple and Gray's Inn The Masque of the Inner Temple and Gray's Inn is an English masque created in the Jacobean period. It was written by Francis Beaumont and is known to have been performed on 20 February 1613 in the Banqueting House at Whitehall Palace, as part of the elaborate wedding festivities surrounding the marriage of Princess Elizabeth, the daughter of King James I, to Frederick V, Elector Palatine. The masque was preceded by a procession, in which the masquers came down the River Thames from Winchester House on the royal barge, accompanied by

neg: Hinton House Hinton House Hinton House is a large country house near Hinton St George in Somerset, England. The house started life as a medieval hall house and was rebuilt around 1500 by Sir Amias Paulet. Alterations were made for successive Lords Poulett by Matthew Brettingham, John Soane, James Wyatt, and Jeffry Wyattville. The Tower House was added around 1814. The design of the south front is based on Inigo Jones's Banqueting House in Whitehall. The South Range is Grade II* listed. The former stable block which was built in the late 18th century, designed by John Soane, is also a Grade

neg: Millennium Biltmore Hotel harvest, with hand-painted animals and fish on the cast-plaster ceiling beams. The Tiffany Room was formerly an open corridor used as a drop-off point for Crystal Ballroom functions. Now enclosed, the elegant space centers around exploration, with relief sculptures and panels depicting Queen Isabella I of Castile, and Christopher Columbus and other Spanish New World explorers. The split-level Gold Room, once a dining room for elite guests, features Prohibition-era hidden liquor compartments and panels along the ceiling for press photographers to take pictures of the event below. It is decorated with a gold cast-plaster ceiling, hand-oiled wood paneling, and nine

neg: Second English Civil War and Lord Capel, one of the Colchester prisoners and a man of high character, were beheaded at Westminster on 9 March. Above all, after long hesitations, even after renewal of negotiations, the Army and the Independents conducted "Pride's Purge" of the House removing their ill-wishers, and created a court for the trial and sentence of King Charles I. At the end of the trial the 59 Commissioners (judges) found Charles I guilty of high treason, as a "tyrant, traitor, murderer and public enemy". He was beheaded on a scaffold in front of the Banqueting House of the Palace of Whitehall

neg: Inigo Jones Inigo Jones Inigo Jones (; 15 July 1573 – 21 June 1652) was the first significant. English architect (of Welsh ancestry) in the early modern period, and the first to employ Vitruvian rules of proportion and symmetry in his buildings. As the most notable architect in England, Jones was the first person to introduce the classical architecture of Rome and the Italian Renaissance to Britain. He left his mark on London by his design of single buildings, such as the Queen's House which is the first building in England designed in a pure classical style, and the Banqueting House, Whitehall,

neg: Montagu House, Whitehall Montagu House, Whitehall Montagu House was the name of two mansions in Whitehall in Westminster, Central London, England. In 1731, John Montagu, 2nd Duke of Montagu, abandoned the existing grand Montagu House in the socially declining district of Bloomsbury, which was later to become the premises of the British Museum, and purchased a site that had once been occupied by the Archbishops of York's London residence and had later been part of the site of Whitehall Palace. He built himself a relatively modest mansion in the conventional style of the day, which can be seen in Canaletto's painting of Whitehall.

neg: Peter Street (carpenter) broadcast in April 2007. Peter Street (carpenter) Peter Street (baptised 1 July 1553, died in May 1609) was an English carpenter and builder in London in the sixteenth and early seventeenth centuries. He built the Fortune Playhouse, and probably the Globe Theatre, two significant establishments in the history of the stage in London. He had a part in building King James's Banqueting House in Whitehall Palace and he may have been responsible for the settings for the king's royal masques. Street was the fourth of eight children of Thomas Street, a joiner from St Stephen's parish in the City of

neg: Peter Street (carpenter) Peter Street (carpenter) Peter Street (baptised 1 July 1553, died in May 1609) was an English carpenter and builder in London in the sixteenth and early seventeenth centuries. He built the Fortune Playhouse, and probably the Globe Theatre, two significant establishments in the history of the stage in London. He had a part in building King James's Banqueting House in Whitehall Palace and he may have been responsible for the settings for the king's royal masques. Street was the fourth of eight children of Thomas Street, a joiner from St Stephen's parish in the City of London. He was ten

neg: Cockpit-in-Court Master of the Great Wardrobe, and later by Ralph, 1st Duke of Montagu in the same capacity. Charles II gave the Cockpit to Princess Anne, daughter of Charles's brother James, Duke of York, in 1683. Anne and her closest friend, Sarah, Lady Churchill were imprisoned here during the Glorious Revolution; both their husbands, Prince George of Denmark and John, Baron Churchill switched their allegiances from James II to William of Orange. Sarah and Anne escaped to Nottingham shortly afterwards. The Palace of Whitehall was almost completely destroyed by fire in 1698. One prominent structure to survive was the Banqueting House,

neg: Ionic order the shaft settled at 24. This standardization kept the fluting in a familiar proportion to the diameter of the column at any scale, even when the height of the column was exaggerated. Roman fluting leaves a little of the column surface between each hollow; Greek fluting runs out to a knife edge that was easily scarred. In some instances, the fluting has been omitted. English architect Inigo Jones introduced a note of sobriety with plain Ionic columns on his Banqueting House at Whitehall Palace, London, and when Beaux-Arts architect John Russell Pope wanted to convey the manly stamina combined with

neg: Banqueting House, Whitehall outside as a first-floor piano nobile with a secondary floor above. The lower windows of the hall are surmounted by alternating triangular and segmental pediments, while the upper windows are unadorned casements. Immediately beneath the entablature, which projects to emphasize the central three bays, the capitals of the pilasters are linked by swags in relief, above which the entablature is supported by dental corbel table. Under the upper frieze, festoons and masks suggest the feasting and revelry associated with the concept of a royal banqueting hall. Much of the work on the Banqueting House was overseen by Nicholas Stone, a

neg: Portrait of Queen Henrietta Maria, as St Catherine the programme by Dr Christopher Brown, director of the Ashmolean Museum and an authority on van Dyck. Following the programme, the restored portrait went on display in the Banqueting House, Whitehall, where Henrietta once lived. Portrait of Queen Henrietta Maria, as St Catherine Portrait of Queen Henrietta Maria, as St Catherine is a painting by Sir Anthony van Dyck. The portrait of Queen Henrietta Maria, as St. Catherine of Alexandria was painted by van Dyck around 1639. She is depicted in a red dress, wearing a coronet and holding a wheel representing the wheel used to torture St Catherine of

neg: State funerals in the United Kingdom had been in use as law courts, and would not have been available for state events at short notice). The first monarch to lie in state there was Edward VII in 1910, and the first consort Queen Mary (1953). Monarchs in the 19th century all lay in state in Windsor Castle. In the 18th century Kensington Palace was often used; in the 17th century, Mary II lay in state in the Banqueting House, Whitehall. Beforehand, the body will often have lain in a private room or chapel elsewhere (e.g. at the place of death) for private viewing. Both George V

neg: Horse Guards Avenue and its entrance dominates the south side of the Avenue, with the smaller Banqueting House situated to the west in the corner with Whitehall. To the north, the Old War Office building lies on the west side of Whitehall Court road fronting onto Whitehall, while the Whitehall Court building lies on the opposite side. Towards Embankment, the frontages of both the Whitehall Court building and MoD building end at the same place, with the Avenue continuing on to the junction with Embankment through the public gardens which line the west side of Embankment. A statue of Spencer Cavendish, 8th Duke

neg: The Vision of Delight of the performance as an assemblage of dreamers, and through his masque illustrates Macrobius's categories of dreams. The Vision of Delight The Vision of Delight was a Jacobean era masque written by Ben Jonson. It was most likely performed on Twelfth Night, 6 January 1617 in the Banqueting House at Whitehall Palace, and repeated on 19 January that year. "The Vision of Delight" was first published in the second folio collection of Jonson's works in 1641. The scholarly consensus favors the view that the masque was designed by Inigo Jones, though no firm historical evidence necessitates this conclusion, and data

neg: Pleasure Reconciled to Virtue Pleasure Reconciled to Virtue Pleasure Reconciled to Virtue is a Jacobean era masque, written by Ben Jonson and designed by Inigo Jones. It was first performed on Twelfth Night, 6 January 1618, in the Banqueting House at Whitehall Palace. The work's failure on its initial performance, and its subsequent revision, marked a significant development in Jonson's evolving masque technique. The masque marked the début of the young Prince Charles, the future King Charles I, in the public life of the Stuart Court. Upon the death of his older brother Prince Henry in 1612, Charles had become the heir to the

neg: Isle of Portland opened to the public by the custodians English Heritage. In the 17th century, chief architect and Surveyor-General to James I, Inigo Jones, surveyed the area and introduced the local Portland stone to London, using it in his Banqueting House, Whitehall, and for repairs on St Paul's Cathedral. His successor, Sir Christopher Wren, the architect and Member of Parliament for nearby Weymouth, used six million tons of white Portland limestone to rebuild destroyed parts of the capital after the Great Fire of London of 1666. Well-known buildings in the capital, including St Paul's Cathedral and the eastern front of Buckingham Palace

neg: Jacobean era parts of the world, like mother-of-pearl, were now available by worldwide trade and were used as decoration. Even familiar materials, such as wood and silver, were worked more deeply in intricate and intensely three-dimensional designs. Architecture in the Jacobean era was a continuation of the Elizabethan style with increasing emphasis on classical elements like columns. European influences include France, Flanders, and Italy. Inigo Jones may be the most famous English architect of this period, with lasting contributions to classical public building style; some of his works include the Banqueting House in the Palace of Whitehall. St Paul’s Cathedral designed by

neg: The Vision of Delight The Vision of Delight The Vision of Delight was a Jacobean era masque written by Ben Jonson. It was most likely performed on Twelfth Night, 6 January 1617 in the Banqueting House at Whitehall Palace, and repeated on 19 January that year. "The Vision of Delight" was first published in the second folio collection of Jonson's works in 1641. The scholarly consensus favors the view that the masque was designed by Inigo Jones, though no firm historical evidence necessitates this conclusion, and data on the masque's design elements are not extant. The masque's music, composed by Nicholas Lanier, has unfortunately

neg: The Hue and Cry After Cupid reprinted in the first folio collection of Jonson's works in 1616, and in subsequent collections of Jonson's works. The Hue and Cry After Cupid The Hue and Cry After Cupid, or A Hue and Cry After Cupid, also Lord Haddington's Masque or The Masque at Lord Haddington's Marriage, or even The Masque With the Nuptial Songs at the Lord Viscount Haddington's Marriage at Court, was a masque performed on Shrove Tuesday night, 9 February 1608, in the Banqueting House at Whitehall Palace. The work was written by Ben Jonson, with costumes, sets, and stage effects designed by Inigo Jones, and

neg: Pleasure Reconciled to Virtue in English literature. (Jonson had died in 1637, and can't be blamed for it.) The text also exists in a transcript by the professional scribe Ralph Crane, which was prepared for Sir Dudley Carleton. Pleasure Reconciled to Virtue Pleasure Reconciled to Virtue is a Jacobean era masque, written by Ben Jonson and designed by Inigo Jones. It was first performed on Twelfth Night, 6 January 1618, in the Banqueting House at Whitehall Palace. The work's failure on its initial performance, and its subsequent revision, marked a significant development in Jonson's evolving masque technique. The masque marked the début of the

neg: Interregnum (1649–1660) their ill-wishers, and created a court for the trial and sentence of King Charles I. At the end of the trial the 59 Commissioners (judges) found Charles I guilty of high treason, as a "tyrant, traitor, murderer and public enemy". He was beheaded on a scaffold in front of the Banqueting House of the Palace of Whitehall on 30 January 1649. The execution of Charles I ushered in the period known as the Interregnum. The reactions to the regicide and to subsequent events varied considerably between the three Kingdoms and the English Dominions. After the execution of Charles I on

neg: Time Vindicated to Himself and to His Honours Time Vindicated to Himself and to His Honours Time Vindicated to Himself and to his Honours was a late Jacobean era masque, written by Ben Jonson and with costumes, sets, and stage effects designed by Inigo Jones. James's son and heir Prince Charles led the dances of the principal masquers, as he had in several previous masques at the Stuart Court. Originally scheduled for Twelfth Night in 1623, its performance was delayed by an illness of the King, James I; the masque was staged on Sunday 19 January, in the Banqueting House at Whitehall Palace. (Coincidentally, Jonson's play "The Alchemist"

neg: The Hue and Cry After Cupid The Hue and Cry After Cupid The Hue and Cry After Cupid, or A Hue and Cry After Cupid, also Lord Haddington's Masque or The Masque at Lord Haddington's Marriage, or even The Masque With the Nuptial Songs at the Lord Viscount Haddington's Marriage at Court, was a masque performed on Shrove Tuesday night, 9 February 1608, in the Banqueting House at Whitehall Palace. The work was written by Ben Jonson, with costumes, sets, and stage effects designed by Inigo Jones, and with music by Alfonso Ferrabosco — the team of creators responsible for previous and subsequent masques for the

neg: Palazzo style architecture England with his Palazzo style design for The Travellers' Club, Pall Mall. While Burton and Nash's designs draw on English Renaissance models such as Inigo Jones' Banqueting House, Whitehall and the Queen's House, Greenwich, Barry's designs are conscientiously archaeological in reproducing the proportions and forms of their Italian Renaissance models. They are Florentine in style, rather than Palladian. Barry built a second palazzo on Pall Mall, The Reform Club, (1830s) as well as The Athenaeum, Manchester. Barry's other major essays in this style are the townhouse Bridgewater House, London, (1847–57) and the countryhouse Cliveden in Buckinghamshire, (1849–51). After Charles Barry,

neg: Art auction Art auction An art auction or fine art auction is the sale of art works, in most cases in an auction house. In England this dates from the latter part of the 17th century, when in most cases the names of the auctioneers were suppressed. In June 1693, John Evelyn mentions a "great auction of pictures ("Lord Melfort's") in the Banqueting House, Whitehall", and the practice is frequently referred to by other contemporary and later writers. Normally, an auction catalog, that lists the art works to be sold, is written and made available well before the auction date. Some of

neg: Privy Garden of the Palace of Whitehall privy, or private, garden that was located behind what is now the Banqueting House. An orchard, which was part of the estate, adjoined it to the south. When Henry VIII seized York Place, he bought more land to the south of the orchard to expand the estate. The old privy garden was cobbled over and later became known as the Pebble Court, while the orchard was converted into a new and much larger Privy Garden, known at first as the "great garden". At the time, Westminster was not heavily built up as it is now, and York Place – later

neg: Banqueting House, Whitehall 1625 of Orlando Gibbons, who ironically died on a trip to meet the newly married Henrietta Maria and her musicians. Inside the building is a single two-storey, double-cube room. The double-cube, in which the length of the room is twice its equal width and height, is another Palladianism, where all proportions are mathematically related. At the upper level, the room is surrounded by what is sometimes mistakenly referred to as a minstrels' gallery. While musicians may have played from this vantage point, its true purpose was to admit an audience; at the time of the Banqueting House's construction, Kings still

neg: Remigius van Leemput and Theodosia, Viscountess Cornbury. In 1667 Charles II commissioned van Leemput to make a small copy of the wall painting by Hans Holbein the Younger representing Henry VII, Elizabeth of York, Henry VIII and Jane Seymour at the Palace of Whitehall in London. Van Leemput received a fee of £150 for the copy. Van Leemput painted another copy of the mural in 1669 (Petworth House, Petworth, West Sussex, England). The two copies are the only records of Holbein’s entire composition, destroyed by fire in 1698 after a maid left her washing to dry before an open fire. Holbein's original draft

neg: Palace of Ajuda of arms and painted ceiling. On the second floor of the palace lies: Palace of Ajuda The Palace of Ajuda (, ) is a neoclassical monument in the civil parish of Ajuda in the city of Lisbon, central Portugal. Built on the site of a temporary wooden building constructed to house the Royal family after the 1755 earthquake and tsunami, it was originally begun by architect Manuel Caetano de Sousa, who planned a late Baroque-Rococo building. Later, it was entrusted to José da Costa e Silva and Francisco Xavier Fabri, who planned a magnificent building in the modern neoclassical style.

neg: Palace of Ajuda a real one. In the office adjacent to the "Winter Garden", the walls were lined in pink velvet to house a collection from Saxony and the ceiling stucco was painted with representations of birds and views of Italy and Lisbon, by Giuseppe and Cinatti Achille Rambois, while the furniture was selected by Krieger, Suc. Racault of Paris. The "Sala Verde" ("Green Room") received new ceiling stucco with bas-relief ornamentation and gold-leaf. Renovations also proceeded in the palace chapel, Queen's washroom and dining room by Leandro Braga, who was also assisted by Atelier responsible for the King's painting studio and personal

neg: Martin Fréminet works for the ducal palace. His fame had preceded him, for on the death of Toussaint Du-Breuil in 1602 he was appointed by Henry IV his principal painter, obtaining at the same time by purchase a sinecure post about the court. In 1608 he commenced for the king the decoration of the chapel at Fontainebleau, which was executed in oil on plaster. In the five compartments of the ceiling he depicted "Noah entering the Ark," the "Fall of the Angels," "Our Lord in Glory," the "Angel Gabriel," and the "Creation." Behind the altar he painted the "Annunciation," and he also

neg: Horse Guards Avenue one way road joining the Avenue from the north as another T-Junction, midway along its length. A small private access road, Whitehall Gardens, is located at its western end, running south. Horse Guards Road is not connected to Horse Guards Avenue, being approximately away beyond the Horse Guards building and parade ground. The Avenue is overlooked by four buildings - the MoD Main Building and Banqueting House on the south side separated by Whitehall Gardens, and the Old War Office Building and Whitehall Court on the north side, separated by Whitehall Court road. The north frontage of the MoD building

neg: Banqueting House, Whitehall England's first purpose-built "Renaissance" houses, even during this era, English domestic architecture never quite lost its "castle air." Although English architecture had been influenced, mostly indirectly, by Italian classicism for a century or so, resulting in the use of classical forms and motifs in late Tudor, Elizabethan and Jacobean buildings, on his return from Italy Jones brought with him far more thorough and up to date understanding of the underlying principles of late Renaissance classicism. With his work at the Queen's House in Greenwich, and the Banqueting House, Jones transformed English architecture. The overthrow of the monarch and establishment of

neg: Banqueting House, Gibside Banqueting House, Gibside The Banqueting House is an 18th-century building, part of the Gibside estate, near Newcastle upon Tyne, England. Its style has been described as "Gothick". A banqueting house is defined as a separate building reached through pleasure gardens from the main residence, whose use is purely for entertaining. This example was constructed in 1746, designed by Daniel Garrett for George Bowes, who had made his fortune from coal. It stands in the highest part of the estate with fine views over the Derwent Valley. It contains three rooms: the main hall, which is across, and two smaller ante-chambers.

neg: Palace of Fontainebleau section of the Château that was later destroyed. Anne had it moved to the room and decorated with her own emblems, including a pelican. The wood paneling in the room is probably from the same period. The decor of the bedroom dates largely to the 1650s; it includes grotesque paintings in compartments on the ceiling, attributed to Charles Errard; richly carved wood paneling featuring oak leaves and puti; and paintings over the doors of Anne of Austria costumed as Minerva and Marie-Therese of Austria costumed as Abundance, both painted by Gilbert de Sève. The bedroom was modified in the 18th

neg: Banqueting House, Whitehall the puritanical Commonwealth caused the style to be seen as Royalist, which delayed its spread; but within a few years of the Restoration almost every English county was to have some buildings in the classical style. The Banqueting House and its features became much copied. A much-favoured motif was the placing of pediments above not only the focal point of a façade but also its windows. The use of alternating segmental and triangular pediments, an arrangement employed by Vasari as early as 1550 at the Medicis' Palazzo Uffizi in Florence, was a particular favourite. Provincial architects began to recreate the

neg: Giacomo Leoni have been still following the earlier and more renaissance-inspired Palladianism which had been imported to England in the 17th century by Inigo Jones. This is evident by his use of classical pilasters throughout the south facade, in the same way that Jones had used them, a century earlier, at the Whitehall Banqueting House and Leoni's mentor, Alberti, had employed them at the Palazzo Rucellai in the 1440s. These features, coupled with the heavy mannerist use of rustication on ground floor with segmented arches and windows, is the reason that Lyme appears more "Italian" than many other English houses in the