He walked on a high plane, his outlook was wider than that of any of his contemporaries at home. He had acquired conceptions of architecture nobler than those engendered by its application to the ordinary needs of daily life. He has left us very little record of his own opinions on any subject; it is all the more interesting, therefore, to find in his sketch-book, under the date, “Friday y^e 20 January 1614” (1615 new style), a page of reflections of which the following is the gist. “In all designing of ornament one must first design the ground plain as it is for use, and then adorn and compose it with decorum according to its use. To say true, all this composed ornament resulting from abundance of design, such as was brought in by Michael Angelo and his followers, does not in my opinion suit solid architecture but is more appropriate to gardens, the ornaments of chimneys, friezes and the inside of houses, where such things must of necessity be used. For as outwardly every wise man carries himself gravely in public places, yet inwardly has imagination and fire which sometimes flies out unrestrained, just as Nature sometimes flies out to delight or amuse us, to move us to laughter, contemplation, or even horror; so in architecture the outward ornament is to be solid, proportionable according to rule, masculine and unaffected.” No epithets more suitable than the two last--masculine and unaffected--could be applied to Jones’s own work. [Illustration: FIG. 23.--St Paul’s Church, Covent Garden. West Front. From an Engraving by Thomas Sandby.] [Illustration: FIG. 24.--The Piazza, Covent Garden. From an Engraving by Thomas Sandby.] [Illustration: FIG. 25.--Ground Plan, Queen’s House, Greenwich, 1635.]