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Inigo Jones (; 15 July 1573 – 21 June 1652) was the first significant English architect of the early modern period, and the first to employ Vitruvian rules of proportion and symmetry in his buildings.〔Vaughan Hart. ''Inigo Jones: The Architect of Kings'' (2011)〕 He left his mark on London by 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, as well as the layout for Covent Garden square which became a model for future developments in the West End. He made major contributions to stage design by his work as theatrical designer for several dozen masques, most by royal command and many in collaboration with Ben Jonson. ==Early life and career== Beyond the fact that he was born in Smithfield, London, the son of Inigo Jones, a Welsh cloth worker, and baptised at the church of St Bartholomew-the-Less, little is known about Jones's early years. He did not approach the architectural profession in the traditional way, namely either by rising up from a craft or through early exposure to the Office of Works, although there is evidence that Christopher Wren obtained information that recorded Inigo Jones as an apprentice joiner in St Paul's Churchyard.〔Colvin, Howard, ''A Biographical Dictionary of British Architects: 1600 to 1840'' (1954)〕 He appears in the household accounts of the Earl of Rutland in 1603 as "Henygo Jones, a picture maker". He is credited with introducing movable scenery and the proscenium arch to English theatre. Between 1605 and 1640, Jones was responsible for staging over 500 performances, collaborating with Ben Jonson for many years, despite a relationship fraught with competition and jealousy: the two had famous arguments about whether stage design or literature was more important in theatre. (Jonson ridiculed Jones in a series of his works, written over a span of two decades.).〔See: ''The Masque of Augurs''; ''The Staple of News;'' ''A Tale of a Tub;'' ''Love's Welcome at Bolsover''. Jonson's follower Richard Brome also took a swipe at Jones in ''The Weeding of Covent Garden.''〕 Over 450 drawings for the scenery and costumes survive, surviving evidence of Jones’s virtuosity as a draughtsman and understanding of Italian set design, particularly that of Alfonso and Giulio Parigi. It is important to understand that there was no conception of such draughtsmanship in England at this time, although it had been the medium used by Italian painters, sculptors and architects for about a hundred years. Around this time, Jones learned to speak Italian fluently and obtained an Italian copy of Andrea Palladio's ''I quattro libri dell'architettura'' (first published in 1570): all indicating that Jones made his first formative trip to Italy between 1598–1603, possibly funded by the Earl of Rutland. These drawings of set design and costume reveal an interesting development in Jones's draughtsmanship between 1605 and 1609, initially showing "no knowledge of Renaissance draughtsmanship", then in 1609, exhibiting an "accomplished Italianate manner".〔Orgel, Steven and Strong, Roy C., "Inigo Jones and the theatre of the Stuart Court", 1973〕 This offers potential evidence of a second visit to Italy, circa 1606,〔Gotch, A. J., "Inigo Jones", 1968〕 influenced by the ambassador Henry Wotton: there is evidence that Jones owned a copy of Andrea Palladio's works with marginalia that refer to Wotton. His work became particularly influenced by Palladio.〔The Center for Palladian Studies in America, Inc., (Palladio and English-American Palladianism )〕 To a lesser extent, he also held that the setting out of buildings should be guided by principles first described by ancient Roman writer Vitruvius. Jones’s first recorded structural work is his monument to Lady Cotton, circa 1608, showing early signs of his classical intentions.〔http://www.jstor.org.pss/877379〕 Around this time, Jones also produced drawings for the New Exchange in the Strand and the central tower of St. Paul’s Cathedral, displaying a similar practical architectural inexperience and immature handling of themes from sources including Palladio, Serlio and Sangallo. In 1609, having perhaps accompanied Lord Salisbury's son and heir, Viscount Cranborne, around France, Inigo Jones appears as an architectural consultant at Hatfield House, making small modifications to the design as the project progressed, and in 1610, Jones was appointed Surveyor to Henry Frederick, Prince of Wales and in this position, Jones devised a masque for the Prince and was possibly involved in some alterations to St James’s Palace.〔Edward Chaney and Timothy Wilks, ''The Jacobean Grand Tour: Early Stuart Travellers in Europe'' (I.B. Tauris: London, 2014).〕 On 27 April 1613, Jones was appointed the position of Surveyor of the King’s Works and shortly after, embarked on a tour of Italy with the Earl of Arundel, destined to become one of the most important patrons in the history of English art. On this trip, Jones was exposed to the architecture of Rome, Padua, Florence, Vicenza, Genoa and Venice among others. His surviving sketchbook shows his preoccupation with such artists as Parmigianino and Schiavone. He is also known to have met Vicenzo Scamozzi at this time. His annotated copy of Palladio's Quattro libri dell' architecttura also demonstrates his close interest in classical architecture: Jones gave priority to Roman antiquity rather than observing the contemporary fashion in Italy. He was probably the first Englishman to study these Roman remains first hand and this was key to the new architecture Inigo Jones introduced in England. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Inigo Jones」の詳細全文を読む スポンサード リンク
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