=Transition.=--The direct effect of the Italian Renaissance did not reach English architecture until the seventeenth century, when Inigo Jones introduced the Palladian style. The so-called “Anglo-Classical” style which then ensued had been preceded by a period of transition from the Gothic, which is usually divided into “Elizabethan” and “Jacobean.” These represent not so much styles as mannerisms. Just as, according to Shakespeare, the Englishman derived the fashion of his clothes from various foreign sources, so, at this time, he decked out what was left of the Gothic style with details borrowed from Italian, French, Netherland, and German models. The debased form of Gothic, known as Perpendicular, involving the use of the low, four-centered arch, emphasising vertical and horizontal lines, and covering surfaces with mechanically repeated geometrical patterns, lingered on into the sixteenth century. But conditions in England were changing. The Wars of the Roses (1455-1485), waged by the nobles on one another, had completed the break up of the Feudal System. Castles were destroyed and the powerful families exterminated or represented mainly by minors. Statesmanship passed into the hands of an intellectual middle class whose power was advanced by the growing prosperity of trade and commerce. [Illustration: WOLLATON HALL, NOTTINGHAMSHIRE BY ROBERT SMITHSON. ELIZABETHAN EXAMPLE OF GOTHIC COMBINED WITH RENAISSANCE. NOTE THE GERMAN INFLUENCE IN THE STRAPWORK GABLES. P. 412] [Illustration: BANQUETING HALL, WHITEHALL BY INIGO JONES. P. 418] [Illustration: HADDON HALL, DERBYSHIRE GOTHIC EXTERIOR. P. 412] [Illustration: HADDON HALL. THE LONG GALLERY ELIZABETHAN-JACOBEAN. P. 412] [Illustration: S. MARY-LE-BOW, CHEAPSIDE, LONDON BY SIR CHRISTOPHER WREN. P. 423] [Illustration: S. PAUL’S CATHEDRAL, LONDON BY SIR CHRISTOPHER WREN. P. 420] [Illustration: OLD CHARLTON, KENT JACOBEAN, RED BRICK AND STONE FACINGS] [Illustration: GEORGIAN CHIMNEY PIECE AND OVERMANTEL BY ROBERT ADAMS. P. 428] =Italian Influence.=--This was augmented, as the century advanced, by the foreign craftsmen who sought refuge in England from the religious persecutions in the Netherlands and the Huguenot war in France. They introduced not only superior skill of workmanship, but the French, Dutch, and Flemish modes. Meanwhile Henry VIII, in surrounding himself with a new kind of political advisers, had also welcomed foreign artists to his court. Among them were Holbein, a versatile designer in various mediums as well as a great portrait painter; Torrigiano, who executed =Henry VII’s Tomb= in =Westminster Abbey= (1512); Giovanni da Majano, who modelled the busts of the emperors in the terra-cotta medallions over the entrance-gates of Hampton Court; Benedetto da Rovezzano, designer of the Tomb of Cardinal Wolsey, which has perished, and a certain John of Padua, who is supposed to have been the architect of =Longleat House= in =Wiltshire=.