Inigo Jones: architect and designer of seventeenth century England

Inigo Jones (1573-1652) was the first and perhaps the greatest of English Renaissance architects who left a profound influence on the course of British art and architecture. Before being elevated to the post of Surveyor General in 1615 by James I and designing a number of architectural projects, Jones' prodigious artistic talent was recognized by the wife of King James I, Queen Anne of Denmark, who hired him to design costumes and settings for court masques. Jones collaborated with another immensely talented artist, the poet and playwright Ben Jonson, to produce a number of highly acclaimed masques until an acrimonious falling out with his friend in 1631. This paper briefly discusses Inigo Jones life and his contribution to the court masque, his relationship with Ben Jonson, and their collaborations.

Brief Biography

Jones was born shortly before July 19, 1573, the recorded date of his baptism, in Smithfield, London. He was the son of a cloth worker -- also named Inigo. Not much is known about his early life or education, but it is almost certain that he traveled to Italy at the end of the 16th century and acquired considerable skill as a draftsman and architect. In 1605, he was hired by the wife of King James I, Queen Anne, to provide costumes and settings for a masque at court, something he continued to do even after he started receiving architectural commissions and his appointment as Surveyor General by King James I in 1615 ("Inigo Jones." Historic Figures -- BBC.co.UK).

Apart from his innovative work in designing of court masques, Inigo Jones undertook a number of notable architectural projects. These include the Queen's house in Greenwich, which was modeled on an Italian palace; remodeling of the Banqueting Hall in Whitehall; design of the Queen's Chapel at St. James Palace, and his restoration work on old St. Paul's Cathedral in London. Jones's employment as the court surveyor ceased with the outbreak of the Civil War in 1642. He died at his Somerset House lodgings on July 21, 1652 ("Inigo Jones" -- Britain Express; "Inigo Jones" -- Biography Greenwich 2000).

Contribution to Court Masque and Collaboration with Ben Jonson

Anne of Denmark, the queen consort of James I, was a passionate lover of all artistic enterprise and was most responsible for reviving the tradition of the court masque and taking it to its height of popularity in the early part of the 17th century (Lees-Milne 25). She commissioned the foremost artists of the time to produce masques of high artistic quality by ensuring that the artists were not handicapped by lack of funds or bothered by undue interference. Two Englishmen of exceptional abilities were chosen by the Queen -- namely, the poet and playwright Ben Jonson for scripting the masques and the budding architect, Inigo Jones, to design the stage effects and costumes for the masque.

The first of a long series of masques produced by the incomparable Jones-Jonson partnership was the performance of "The Masque of Blackness" on the "twelfth night of the year 1605...at Whitehall" (Ibid. 25). The collaboration of the two brilliant talents took the hitherto neglected art of court masques to levels never seen before. Jonson brought to the masques the literary flavor of his deep reading of the classics, while Jones injected the fruits of several years' study of ancient and renaissance art; and both of them poured the vigor and originality of creative genius into the art-form. Although most of the occasions for masques were rather frivolous, such as the celebration of a society wedding, Jonson made sure that his masques were full of Platonic meanings, mythological references and humanistic doctrines that would tax the knowledge of the most learned among the audience. Jones, on the other hand, let loose his prodigious knowledge of classical art, his impressive competence as a painter, and his unmatched creativeness in devising stunning stage scenery and elaborate costumes for the masques, which won the admiration of all discerning observers (Ibid. 26-28).

Relationship with Jonson

Inigo Jones enjoyed a surprisingly tempestuous relationship with Ben Jonson. The partnership of the two men that started so promisingly, resulting in the creation of a number of superb masque productions, ended in bitter acrimony. Their hostility is surprising because both men were of approximately the same age, of similar humble background, shared rare artistic genius in their respective fields, and were given much leeway by generous royal patrons to work harmoniously.

One of the reasons for the fall-out between the two was that Jonson took the intellectual content of his masques more seriously than anyone else. He was, by all accounts, convinced that the soul of the masque was of infinite value. He deeply resented the tendency at the time to accord greater respect to the decoration and the "mere mechanics" of a show (Lees-Milne 45). Jonson believed that Jones was getting more credit than he deserved for his contribution to the masque productions. His resentment towards his "friend" grew from "irritation to contempt to intense dislike" just as applause for Jones got louder (Ibid. 46-47).