The Thorpe and Smithson drawings are closely allied both in architectural style and in methods of draughtsmanship, although the latter collection is obviously later in feeling. There is a vast difference in both respects between them and the drawings prepared by Inigo Jones and John Webb, which will presently be described. There are comparatively few details in the Thorpe and Smithson collections, especially in the former. The designers concerned themselves primarily with the mass of the building rather than with its particular features. The plans in all the collections, both early and late, are drawn with much care and many of them with singular neatness. But the elevations and perspective views are not of equal excellence. The latter are generally drawn by Thorpe as bird’s-eye views. They are in the nature of diagrams. There are, it is true, hardly any perspectives among the architectural drawings of Jones and Webb, but in the one notable instance--the view of a front for Whitehall Palace, at the British Museum--the spectator is supposed to be standing on the ground and not floating in the air (Fig. 19). In Jones’s designs for the scenery of masques there are many interesting architectural compositions, and these are perforce drawn to satisfy the eye of a spectator on the floor of the theatre. They show great skill in perspective drawing. The difference between the two methods is best indicated by describing the earlier as archaic and the later as modern. Indeed with the advent of Inigo Jones we enter upon a new phase in architectural design; we are leaving the ancient ways and turning into the modern. III INIGO JONES