Apart entirely from the question as to the authorship of the Inigo Jones drawings, the ideas embodied in them are of the first importance. For the purpose of grasping these, the second volume of Kent’s “Designs of Inigo Jones” will answer almost as well as the originals. Comparing them with Elizabethan or Jacobean houses, a complete change will be seen to have taken place, both in the plans and the elevations (Fig. 44). There is no resemblance to the older manner. The time-honoured arrangement which placed the great hall centrally between the family wing and the servants’ wing has been superseded by one which places the kitchens in a basement, devotes the ground floor to the principal living-rooms, abolishes the great hall as a living-room, and substitutes for it a central saloon of great height, which not infrequently reaches from the ground floor to the roof. The orderly straggling of the ancient plan has given way to a trim compactness in the new. The plan, of course, controls the elevation, which is more precise and far less picturesque than of old. There are few, if any, gables; the chimneys are solid and staid; the windows consist each of one large opening, instead of being a group of small lights formed by mullions and transoms. It does not need an examination of the elaborate proportions tabulated by Webb on many of the original drawings to realise that here the old instinctive and even haphazard methods have been superseded by a system of carefully calculated design. The change is apparent at a glance, and one feels at once that the source of inspiration is not English but Italian. Very few of these designs appear to have been actually carried out, but they had a considerable influence on domestic architecture after their publication. They include practically none of the houses attributed to Jones or Webb which still exist.