inconvenience both to the family and the servants. But inconvenience counted for little so long as an imposing edifice was secured. [Illustration: FIG. 115.--Plan of Stoke Bruerne, Northamptonshire.] [Illustration: FIG. 116.--VIEW OF BETHLEHEM HOSPITAL.] The introduction of this particular form of plan, with a central block, two outlying wings, and connecting colonnades, is associated with the name of Inigo Jones and the house of Stoke Bruerne, in Northamptonshire. According to Bridges, the county historian, “the house was built by Sir _Francis Crane_, who brought the design from _Italy_, and in the execution of it received the assistance of _Inigo Jones_. It consists of a body and two wings, joined by corridores or galleries (see plan, Fig. 115). The pillars which support the galleries leading to the wings, are red and of a different colour from the house.... The house was begun about the year 1630 and finished before 1636, during which interval he gave an entertainment here to the King and Queen.”[56] Colin Campbell, however, says that the building was begun by Inigo, who made the wings, colonnades, and all the foundations, and that owing to the interruption caused by the Civil War the front was designed by “another architect.” He puts the date at 1640. Bridges’ account is circumstantial, and he was a careful historian; but Campbell’s elevation shows the body of the house treated in a different manner from the wings, and so far supports his statement. Unfortunately this part of the building was burnt down in 1886, and the opportunity of comparing the differences in the work itself is lost. Both authorities concur in placing the date as early as somewhere between 1630 and 1640, which was quite half a century before this type of plan became at all popular. Nevertheless among Webb’s drawings, which cover at least thirty years of the half-century, there are several instances in which it is employed; and even the practical and level-headed Wren has a plan of this type among his drawings at All Souls College, Oxford (see Fig. 100). The genesis of this particular form is of interest inasmuch as it was widely adopted in the eighteenth century; so much so that Isaac Ware in his “Complete Body of Architecture,” published in 1756, lays down various rules for its disposition and proportions, and recommends its adoption as raising a house out of the commonplace and making it handsome without being necessarily pompous. [Illustration: FIG. 117.--CATHERINE COURT, TOWER HILL, LONDON. Drawn by F. L. Emanuel.]