He alone saw the possibility of using Vitruvius’ primitive Tuscan order for a church which even deemed appropriate for country houses at best.
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If -metaphorically speaking- Wren was interested in a high level of modern ‘Arabic’, Jones was interested in ‘Fusha’, the pure form of language that allows the almost algebraic development of new vocabularies using the most ancient roots while this is just what seemed to be beyond Wren (and Bernini), it is just what Jones was all about. Wren’s was one of the most supreme intellects these shores has ever produced, but ‘architecture is not made with the brain’. Wren’s masterpiece was inspired by the Baroque theatricality of Bernini, whom he had met early-on in his architectural career, while Jones, nominally ‘Palladian’ was actually interested in more ‘fundamental’ things Vitruvius, the Greeks, the poetry of construction-, as his theoretical tract on Stonehenge testifies. Wren admired that portico greatly, but somehow I doubt he really ‘got’ it, or in fact the architecture of Inigo Jones in general. In designing the new post-Great Fire St Paul’s Cathedral, Sir Christopher Wren not only rebuilt Inigo’s destroyed handi-work, but also paid him a great compliment by reviving the great Corinthian portico that had fronted his earlier renovation. To fully appreciate what I mean, it’s perhaps useful to briefly consider that other more famous but -in my opinion- lesser St Paul’s, some twenty five minutes’ walk to the east. No, the real quality lies in the sophistication of the governing schema, the product of that ‘other’ Nature mentioned earlier.
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The venerable patina of it’s battered and bruised matter?