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3 Desgodetz, Antoine, Les Édifices antiques de Rome dessinés et mesurés tres exactement (Paris, 1682)Google Scholar; Fréart, Roland, A Parallel of the Ancient Architecture with the Modern, trans. Evelyn, John (London, 1707)Google Scholar.

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5 Ayres, Philip, ‘Pope's Epistle to Burlington: the Vitruvian Analogies’, Studies in English Literature, 1500–1900, 30 (1990), pp. 429–44CrossRefGoogle Scholar.

6 For a comprehensive study of Shaftesbury's life and philosophy see Klein, Lawrence E., Shaftesbury and the Culture of Politeness: Moral Discourse and Cultural Politics in Early Eighteenth-Century England (Cambridge, 1994)CrossRefGoogle Scholar.

7 Shaftesbury, Lord, ‘A Letter Concerning Design’, in Characteristicks of Men, Manners, Opinions, Times, 3 vols, 5 edn (London, 1732), III, pp. 395–410 Google Scholar.

8 Klein, Shaftesbury, p. 195.

9 Ibid., p. 192.

10 Shaftesbury, ‘Letter’, pp. 398–40.

11 Ibid., p. 400.

12 Ibid.

13 Wittkower, Rudolf, ‘Lord Burlington and William Kent’, Archaeological Journal, 102 (1945), pp. 151–64CrossRefGoogle Scholar, reprinted in idem, Palladio and English Palladianism (London, 1974), pp. 115–34Google Scholar; Kimball, Fiske, ‘Burlington Architectus, Part I’, Journal of the Royal Institute of British Architects, 34 (15 October 1927), pp. 675–93Google Scholar; ‘Part II’ (12 November 1927), pp. 14–16. Wittkower's view was endorsed by Summerson; see Summerson, John, Architecture in Britain, 1530 to 1830 (London, 1953), pp. 197–208 Google Scholar; ninth edition (New Haven, London, 1993), pp. 295–316 (all subsequent references are from the ninth edition). Wittkower's position was further endorsed by Colvin, H.M., A Biographical Dictionary of British Architects, 1660–1840 (London, 1954), pp. 86–90 Google Scholar; fourth edition (New Haven, London, 2008), pp. 147–52 (all subsequent references are from the fourth edition). For more on Burlington's changing historiographical position see Salmon, Frank, ‘“Our Great Master Kent” and the Design of Holkham Hall: A Reassessment’, Architectural History, 56 (2013), pp. 63–96 (p. 65)Google Scholar; Kingsbury, Pamela, ‘Boyle, Richard, Third Earl of Burlington and Fourth Earl of Cork (1694–1753)’, Oxford Dictionary of National Biography, ed. Matthew, H.C.G. and Harrison, Brian, 60 vols (Oxford, 2004) [henceforth ODNB], VII, pp. 93–99Google Scholar.

14 Rudolf Wittkower, ‘English Literature on Architecture’, a lecture from 1966 reprinted in Wittkower, Palladio, pp. 95–114 (p. 103).

15 Wittkower, Rudolf, ‘English Neo-Palladianism, the Landscape Garden, China and the Enlightenment’, L'Arte, 6 (1969), pp 18–35 Google Scholar, reprinted in Wittkower, Palladio, pp. 177–92 (p. 179).

16 For further examples of Shaftesbury and his writings being cited in connection with Burlington and the rise of Palladianism, see Hussey, Christopher, ‘Introduction: The Aesthetic Background to the Art of William Kent’, in Jourdain, Margaret, The Work of William Kent (London, 1948), pp. 15–24 Google Scholar; Hussey, Christopher, English Country Houses. Early Georgian, 1715–1760 (London, 1965), p.11Google Scholar; Stutchbury, Howard E., The Architecture of Colen Campbell (Manchester, 1967), p. 3Google Scholar; Beaumont, Charles, ‘Pope and the Palladium’, Texas Studies in Literature and Language, 17 (1975), pp. 461–79 (p. 466)Google Scholar; Pfister, Harold Francis, ‘Burlingtonian Architectural Theory in England and America’, Winterthur Portfolio, 11 (1976), pp. 123–51CrossRefGoogle Scholar; Sicca, C.M., ‘Il Palladianesimo in Inghilterra’ in Palladio: la sua eredità nel mondo (Milan, 1980) pp. 31–73 (pp. 32–33)Google Scholar; Rykwert, Joseph, The First Moderns: The Architects of the Eighteenth Century (Cambridge, 1980), pp. 168Google Scholar and 173; Bold, John, Wilton House and English Palladianism: Some Wiltshire Houses (London, 1988), p. 3Google Scholar; Jackson-Stops, Gervase, The Country House in Perspective (London, 1990), p. 82Google Scholar: Tavernor, Robert, Palladio and Palladianism (London, 1991), p. 156Google Scholar; Jeffery, Sally, ‘Architecture’, in Eighteenth-Century Britain: The Cambridge Cultural History, ed. Ford, Boris (Cambridge, 1991), pp. 216–59 (pp. 234–35)Google Scholar; Paulson, Ronald, Hogarth, 3 vols (Oxford, 1991–93), I, pp. 85–86Google Scholar; Carré, Jacques, Lord Burlington (1694–1753): le connaisseur, le mécène, l'architecte (Clermont-Ferrand, 1994), pp. 60 and 287Google Scholar; Harris, John, The Palladian Revival: Lord Burlington, his Villa and Garden at Chiswick (London, 1994), pp. 36–37 Google Scholar; Parissien, Steven, Palladian Style (London, 1994), pp. 60–66 Google Scholar; Li Shiqiao, Shaftsbury's influence in the shift from the Baroque to neo-Palladium architecture (Doctoral Thesis, Birkbeck College, London, 1994); Rykwert, Joseph, The Palladian Ideal (New York, 1999), pp. 22–24 Google Scholar; Levine, Joseph M., Between the Ancients and the Moderns: Baroque Culture in Restoration England (New Haven, London, 1999), p. 203Google Scholar; Hart, Vaughan, Nicholas Hawksmoor: Rebuilding Ancient Wonders (New Haven, London, 2002), pp. 1–2 Google Scholar. 242. 245; Shiqiao, Li, Power and Virtue: Architecture and Intellectual Change in England 1660–1730 (London, 2007), p. 166Google Scholar; Curl, James Stevens, Georgian Architecture in the British Isles, 1714–1830 (Swindon, 2011), pp. 23–25 Google Scholar; Cruickshank, Dan, The Country House Revealed: a Secret History of the British Ancestral Home (London, 2011), p. 150Google Scholar. Some other writers acknowledge the link between Shaftesbury and Palladianism in the historiography without supporting or denying it; see Hewlings, Richard, ‘James Leoni c.1686–1746: an Anglicized Venetian’ in The Architectural Outsiders, ed. Brown, Roderick (London, 1985), pp. 21–43 (p. 22)Google Scholar; Tyack, Geoffrey, review of Bold, Wilton House and English Palladianism, Journal of the Society of Architectural Historians, 50(1), pp. 80–81 (p. 81)CrossRefGoogle Scholar; and Worsley, Giles, ‘Nicholas Hawksmoor: a Pioneer Neo-Palladian?’ Architectural History, 33 (1990), pp. 60–74 (p. 60)CrossRefGoogle Scholar.

17 Wilton-Ely, John, Apollo of the Arts: Lord Burlington and his Circle, catalogue of an exhibition held at Nottingham University Art Gallery, Nottingham, in 1973 (Nottingham, 1973), p. 7Google Scholar.

18 Arnold, Dana, ‘It's a Wonderful Life’, in Belov'd by Evr'y Muse: Richard Boyle 3rd Earl of Burlington and 4th Earl of Cork (1694–1753), ed. Arnold, Dana (London 1994) pp. 5–14 (p. 5)Google Scholar.

19 John Wilton-Ely, ‘Lord Burlington and Italy’ in Belov'd, ed. Arnold, pp. 15–20 (p. 17).

20 Ayres, Classical Culture, pp. 73 and 115.

21 Mowl, Tim, ‘Directions from the Grave: the Problem with Lord Shaftesbury’, Garden History, 32 (2004), pp. 35–48 (p. 39)CrossRefGoogle Scholar.

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23 Arbuthnott, Catherine, ‘Kent's Patrons’, in William Kent: Designing Georgian Britain, ed. Weber, Susan, catalogue of an exhibition held at the Bard Graduate Center, New York, and Victoria and Albert Museum, London, in 2013–14 (New Haven, London, 2013), pp. 63–88 (p. 69)Google Scholar.

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25 Steven Brindle, ‘Kent and Italy’, in William Kent, ed. Weber, pp. 89–110 (p. 90).

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29 Summerson, unlike many who were influenced by him, did not state explicitly that Shaftesbury influenced Burlington. His account of the Palladian Revival, however, placed huge importance on the Letter, and there can be no doubt that Summerson considered Shaftesbury the harbinger of Burlingtonian Palladianism; see Architecture in Britain, pp. 295–96.

30 Harris, Palladian Revival, pp. 62 and 210; Harris, John, ‘The Transformation of Lord Burlington: From the Palladio and Jones of his Time to the Modern Vitruvius’, in The Georgian Villa, ed. Arnold, Dana (Stroud, 1996), pp. 41–47, (p. 42)Google Scholar; Harris, John, ‘Is Chiswick a Palladian Garden?’, Garden History, 32 (2004), pp. 124–36 (p. 132)CrossRefGoogle Scholar.

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35 Ibid., pp. 519–23.

36 Parissien, Palladian Style, p. 61; British Architectural Theory, 1540–1750: An Anthology of Texts, ed. van Eck, Caroline and Anderson, Christy (Aldershot, 2003), p. 227Google Scholar; Stevens Curl, Georgian Architecture, p. 24; Julius Bryant, ‘Queen Caroline's Richmond Lodge by William Kent: an Architectural Model Unlocked’, The Burlington Magazine, 1346 (May, 2015), pp. 325–30 (p. 327).

37 Bold, Wilton House, p. 3.

38 Wittkower, Palladio, p. 218. Other historians have suggested that the Letter circulated in manuscript:  see Paulson, Hogarth, p. 86; Chaney, Edward, The Evolution of the Grand Tour: Anglo-Italian Cultural Relations Since the Renaissance (London, 1998), p. 314Google Scholar; Hart, Nicholas Hawksmoor, p. 1.

39 Chatsworth, Burlington Archives [henceforth ‘Chatsworth’], ‘Catalogue of the Earl of Burlington's Library at Chiswick’, p. 30.

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41 Harris, Palladian Revival, p. 14.

42 London, British Library, Add MS 72496, Bridges to Trumbull (9 June 1713), p. 75.

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45 Andrew Hopkins, ‘Palladio and Scamozzi drawings in England and their Talman marks’, The Burlington Magazine, 1344 (March 2015), pp. 172–80 (p. 173).

46 Ibid. pp. 173–74; Receipts for the drawings purchased from John Talman in England can be found at Chatsworth, BU 3/2/5, ‘Accounts of Richard Boyle, 3rd Earl of Burlington’, pp. 2, 36 and 50.

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52 McParland, ‘Edward Lovett’, p. 160; Molesworth, William, ‘Two Shaftesburian Commissions in Florence: Antonio Selvi's Portrait Medals of John and Richard Molesworth’, Irish Architectural and Decorative Studies, 8 (2005), pp. 221–57Google Scholar.

53 London, National Archives, PRO 30/24/23/8, ‘Copybook of letters of the Earl of Shaftesbury’.

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55 Galilei's surviving papers and drawings can be found in Florence, Archivio di Stato, Carte Galilei, filza 5, 14 and 21; Toesca, ‘Alessandro Galilei’, p. 190.

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57 Ibid.

58 Historical Manuscripts Commission [henceforth ‘HMC’], Report on Manuscripts in Various Collections, VIII (London, 1913), p. 368.

59 Dublin, National Library of Ireland, MS 38,599/14, ‘Letters from Sir Thomas Hewett to Hugh Howard’.

60 Ibid.

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62 Dublin, National Library of Ireland, MS 38,599/14, ‘Letters’.

63 Ibid.

64 Toesca, ‘Alessandro Galilei’, p. 220.

65 McParland, ‘Sir Thomas’, p. 23.

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67 Dublin, National Library of Ireland, MS 38,599/14, ‘Letters’.

68 George Vertue, ‘Note Books’, Walpole Society, 6 vols (1930–1950), II, p. 36.

69 Klein, Shaftesbury, pp. 206–07.

70 Lord Shaftesbury, ‘Miscellany III’, in Shaftesbury, Characteristicks, p. 138.

71 Shaftesbury, Letters, pp. 15–26, 35.

72 O'Connell, ‘Lord Shaftesbury’, p. 149.

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79 Ibid.

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84 Vitruvius, On Architecture, trans. Richard Schofield (London, 2009), pp. 146–47 and 185–87.

85 Worsley, ‘Classical Architecture’, pp. 35 and 95–96.

86 Fréart, Parallel, ‘Preface’, p. 2.

87 Ibid.

88 Vertue, Note Books, II, p. 36.

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94 Walker, ‘Francis Vernon’, pp. 29–30.

95 Ibid. Anthony A. Wood noted that the journal ‘contains only short and imperfect notes, but a great number of inscriptions’: Wood, Anthony A., Athenæ Oxonienses, 4 vols (London, 1817), III, pp. 1133–34Google Scholar.

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97 See McParland, ‘Edward Lovett’, p. 162; Palladio also illustrated several Roman temples with steps running around the crepidoma: Palladio, Andrea, I quattro libri dell'architettura, (Venice, 1570), IV, pp. 56–57 Google Scholar. 67–68 and 129–31.

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105 Worsley, ‘Nicholas Hawksmoor’, p. 60.

106 Worsley, ‘Sir John Summerson’, pp. 105–15; Worsley, Classical Architecture, pp. xi and 85–104; see also McKellar, Elizabeth, ‘Popularism Versus Professionalism: John Summerson and the Twentieth-Century Creation of the “Georgian”’, in Articulating British Classicism: New Approaches to Eighteenth-Century Architecture, ed. Arciszewska, Barbara and McKellar, Elizabeth (Aldershot, 2004), pp. 35–56 Google Scholar.

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108 Watkin, David, The Classical Country House (London, 2010), p. 16Google Scholar; See also Bold, Wilton House, pp. 1–5; Jeffery, ‘Architecture’, pp. 217–19; Tavernor, Palladio and Palladianism, pp. 152–56; Arnold, ‘It's a Wonderful Life’, p. 9; Rykwert, Palladian Ideal, p. 187; Watkin, David, English Architecture: a Concise History (London, 2001), p. 124Google Scholar; Stevens Curl, Georgian Architecture, pp. 23–25.

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110 Summerson, Architecture in Britain, p. 295.

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118 Arciszewska, The Hanoverian Court, pp. 294–301; Carole Fry, ‘The Dissemination of Neo-Palladian Architecture in England, 1701–1758’ (Doctoral Thesis, University of Bristol, 2006).

119 See, for example, Fréart, Parallel.

120 Sale Catalogues of Libraries of Eminent Persons, 12 vols (London, 1971–75), IV, ed. Watkin, D.J., pp. 1–45 Google Scholar; Geraghty, Anthony, ‘Robert Hooke's Collection of Architectural Books and Prints’, Architectural History, 47 (2004), pp. 113–25Google Scholar; Skelton, Kimberly, ‘Reading as a Gentleman and an Architect: Sir Roger Pratt's Library’, Transactions of the Ancient Monuments Society, 53 (2009), pp. 15–50 Google Scholar; In his correspondence Vanbrugh refers to his owning a copy of Fréart's French translation of the Quattro libri (1650): see The Complete Works of Sir John Vanbrugh, ed. Bonamy Dobrée and Geoffrey Webb, 4 vols (London, 1928), IV, p. 9; A copy of the 1570 first edition of the Quattro libri was amongst the lots offered at the Talman Sale in 1728. It is likely that this belonged to William Talman; see ‘The Talman Collection, Marks and Sales’, ed, Griffiths, Antony, Walpole Society, 59 (1997), pp. 181–252 (p. 246)Google Scholar.

121 Hewlings, ‘Chiswick House’, pp. 131–49; Jane Clark, ‘Lord Burlington is Here’, in Lord Burlington, ed. Barnard and Clark, pp. 251–310; Lord Burlington: The Man and His Politics: Questions of Loyalty, ed. Corp, Edward (Lewiston, 1998), pp. 121–36 (p. 123)Google Scholar.

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123 The Fountaine-Leibniz correspondence is published in John Mitchell Kemble, State Papers and Correspondence (London, 1857), pp. 253–54.

124 Ibid, p. 274.

125 In 1731, for example, Fountaine was selected as an arbitrator in a dispute between the Duke of Chandos and Christopher Cock over an alleged defective restoration, on Cock's part, of some supposed Raphael cartoons belonging to the Duke; ultimately Sir Andrew withdrew from the proceedings. See Baker, C.H. Collins and Baker, M.I., The Life and Circumstances of James Brydges, First Duke of Chandos, Patron of the Liberal Arts (Oxford, 1949), pp. 83–92 Google Scholar.

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135 Halfpenny, William, The Art of Sound Building, Demonstrated in Geometrical Problems (London, 1725)Google Scholar, ‘Dedication’.

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137 London, National Art Library, 86.ZZ.160, ‘Inventory of the Contents of Narford Hall and Catalogue of the Library, 1753’.

138 Vertue, ‘Note Books’, III, pp. 156–57.

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145 Charles Avery, ‘Lord Burlington and the Florentine Baroque Bronze Sculptor Soldani: New Documentation on the Anglo-Florentine Art Trade in the Age of the Grand Tour’, in, Lord Burlington, ed. Corp, pp. 27–49 (pp. 35–38).

146 Chatsworth, CSU 153.0, ‘Sir Andrew Fountaine, 31 August 1719’.

147 Ibid.

148 Clark, ‘Lord Burlington’, pp. 268–70.

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151 George Knox, ‘Antonio Pellegrini and Marco Ricci at Burlington House and Narford Hall’, The Burlington Magazine, 1028 (November, 1998), pp. 846–53.

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153 Morris, Essay, pp. xii–xiii.

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159 Pagan, ‘Andreas Fountaine’, p. 114.

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164 Hart, ‘A Copy’, pp. 208–09.

165 Ibid.

166 Palladio, Andrea, Antiquitates urbis Romæ, trans. Fairfax, C. (Oxford, 1709)Google Scholar, ‘praefatio’; Hart, ‘A Copy’, p. 210.

167 Hiscock, W.G., Henry Aldrich of Christ Church, 1648–1710 (Oxford, 1960), p. 31Google Scholar. Aldrich was something of a polymath: he was renowned as a composer, logician and mathematician, as well as an architect, see Stuart Handley, ‘Aldrich, Henry (1648–1710)’, ODNB, I, pp. 630–32.

168 Aldrich, Henry, Elementa architecturæ civilis ad Vitruvii veterumque disciplinam, et recentiorum præsertim A. Palladii exempla probatiora concinnata., trans. Smyth, Phillip (Oxford, 1789), pp. 23–24 Google Scholar.

169 Weeks, ‘The Architects’, pp. 110–12.

170 In a rare error, Colvin claimed that Shaftesbury laid Peckwater's foundation stone – it was, in fact, Lord Salisbury: see Beddard, R.A., review of Colvin, Howard, A Biographical Dictionary of British Architects 1600–1840, The English Historical Review, 96 (1981), pp. 872–77 (p. 877)Google Scholar. This was rectified in subsequent editions of the Biographical Dictionary. At the age of 19 Pembroke contributed a £20 subscription towards the cost of Aldrich's new quadrangle; see Colvin, Biographical Dictionary, p. 514.

171 Worsley, Classical Architecture, p. 88.

172 Colvin, Biographical Dictionary pp. 253–55; Timothy Clayton, ‘Clarke, George (1661–1736)’, ODNB, XI, pp. 871–73.

173 Hopkins, ‘Palladio’, p. 174.

174 Harris, John and Tait, A.A., Catalogue of the Drawings by Inigo Jones, John Webb and Isaac de Caus at Worcester College, Oxford (Oxford, 1979), pp. 1–3 Google Scholar.

175 Weeks, ‘The Architects’, pp. 117–18.

176 Worsley, ‘Nicholas Hawksmoor’, pp. 67 and 70.

177 Howard Colvin, Unbuilt Oxford (New Haven, London, 1983), pp. 23–77.

178 Baker, ‘Talman, Aldrich’; London, Society of Antiquaries, SAL/MS/262, ‘Letter from John Talman 2 March 1709/10 to the Dean of Christ Church’.

179 Hewlings, ‘James Leoni ’, p. 27.

180 Campbell, Vitruvius Britannicus, I, p. 15.

181 Parissien, Palladian Style, p. 16.

182 Weeks, ‘The Architects’, p. 108.

183 Ibid.

184 Chatsworth, ‘Catalogue’, p. 39.

185 Ibid.

186 Hart, ‘A Copy’, p. 209.

187 Harris, Eileen and Savage, Nicholas, British Architectural Books and Writers, 1556–1785 (Cambridge, 1990), pp. 109–12Google Scholar.

188 Chatsworth Library, no shelfmark.

189 Walpole, Horace, Anecdotes of Painting in England, ed. Dallaway, James, 3 vols (London, 1849), II, p. 690Google Scholar.

190 Toby Barnard, ‘Fairfax, Charles Brandon (1684–1723)’, ODNB, XVIII, pp. 923–24.

191 Barnard, T.C., Making the Grand Figure: Lives and Possessions in Ireland, 1641–1770 (New Haven– London, 2004), pp. 51Google Scholar and 55–56.