The whole scheme for the palace of Whitehall is fully illustrated by Kent.[164] The plan is a vast rectangle measuring 874 by 1151 feet, and comprising seven courts, of which the central one toward the park encloses a circular gallery. The long blocks are broken by rectangular pavilions, one on the axis of each of the four sides, one at each angle, and others at intervals between. It is thus French in character, rather than Italian, and suggests a derivation from De l’Orme’s plan of the Tuileries. It is not worth while to examine the architectural character of the elevation fully in detail; but, in addition to the Banqueting Hall already noticed, it may be well to examine several other parts which further illustrate the art of Inigo Jones. The axial pavilions are flanked with rectangular towers in three stages, each stage adorned with an order, and surmounted with an octagonal cupola. On the Westminster front the basement has a Doric order with a modification of De l’Orme’s column, in which the larger stones are square. This basement (Fig. 133) has a mezzanine marked by an entablature which is cut in the middle by the keystones of a flat arch over a window beneath. The great entablature in this case is borne by the columns, and the order has thus a structural character (though it has no structural reason for being) which the orders of the Banqueting Hall do not have. The only other feature of Whitehall that need be mentioned is the façade of the circular court enclosed by the king’s apartments. This is a _bizarre_ design in two stages, with a so-called Persian order below and an order of caryatids above. The bearing members of these orders stand out beyond the entablatures, and thus support nothing but ressauts, while a balustrade with statues crowns the whole. [Illustration: FIG. 133.--Basement of a part of Whitehall.] [Illustration: FIG. 134.--Front of old St. Paul’s by Inigo Jones.]