The other wing, so called, of the palace had also three courts, the interior architecture of which we may judge of by looking at the back, or east, side of the Banqueting House, which was built to form part of the north-eastern court on one side, and to look on the street of Whitehall on the other. The Chapel was to have corresponded in the north-western corner. Jones left elaborate plans for this building, and a section in Kent is one of the most beautiful things in a beautiful book. It was a double cube, of course, but the roof was vaulted, or, at least, coved. Elaborate symbolical carving and angelic figures are on the wall. The chapel has a narrow gallery above, and the order, which is Ionic, fluted, below, is Corinthian above. Wide-arched openings are in the view in Kent, but he does not show us what the other, or chancel, end was to be like. It may be worth noting that, like Wren, Jones was very free in his use of the orders, and it is not always possible in the prints to distinguish Corinthian from Composite; but, of course, where the lower storey was Ionic, the upper would not be Composite. As to the merits of this design for a palace, critics have been very well agreed—except, unfortunately, during the madness of the supposed Gothic revival. Had Barry been desired to use, or adapt, Jones’s design, or part of it, for the new Houses of Parliament, what a noble river-front we might have had! But it is useless to pursue such thoughts. The opportunity was lost, and, for certainly the past thirty years, there have been very few people in England who were really able to judge of the Houses of Parliament apart from their ornamentation. Inigo Jones’s design would have been the better of any ornament that could have been bestowed on it, but ornament was not necessary. Marble columns and gilt capitals would have looked well, but plain stone would have been enough. [Illustration: _First Design by_ INIGO JONES _for the Rebuilding of Whitehall. Bird’s-eye View. From Müller._] Fergusson well remarks that the greatest error in Jones’s design for Whitehall was the vastness of its scale. It was as far beyond the means as beyond the wants of James I. It is not, he continues, in a long passage from which I only take a few sentences, so much in dimensions as in beauty of design that this proposal surpassed other European palaces. Externally, it would have surpassed the Louvre, Versailles, or any other building of the kind, “by the happy manner in which the angles are accentuated, by the boldness of the centre masses in each façade, and by the play of light and shade, and the variety of sky-line, which is obtained without ever interfering with the simplicity of the design or the harmony of the whole.”