Houses are made for living in, not just for show. So, practicality should take priority over symmetry—unless, of course, you can have both. Leave grand, ornamental designs to the poets; they can create magnificent palaces in their verses without spending a penny. A person who builds a beautiful house in an unsuitable location effectively imprisons themselves. By “unsuitable,” I don’t just mean places with unhealthy air but also those with unpredictable climates. For instance, many lovely homes are built on low ground surrounded by higher hills. These spots trap the sun’s heat and channel the wind in odd ways, causing sudden shifts in temperature—as if you lived in multiple climates at once.
Poor air isn’t the only issue with bad locations. Consider practical matters like poor roads, lack of markets, and, as the critic Momus might add, bad neighbours. Add to this the absence of water, wood, or shade; infertile land; an unattractive view; or a lack of nearby spaces for hunting or recreation. Living too close to the sea can be dangerous, while being too far away can limit opportunities. Navigable rivers are useful, but flooding can be a burden. If you’re too far from major cities, business may suffer, but being too close drives up costs. Ideally, balance these factors. If you own multiple properties, plan them so that what one house lacks, another provides.
There’s wisdom in Lucullus’s reply to Pompey, who criticised his grand, airy rooms as perfect for summer but unsuitable for winter. Lucullus quipped, “Do you not think me as wise as the birds, who change their homes with the seasons?”
Now, moving on from location to the house itself: let us consider, as Cicero did with rhetoric, both the theory and the ideal form. Here, we’ll outline the structure of a princely palace. It’s curious how Europe has such vast buildings, like the Vatican and Escurial, yet they rarely contain rooms of true beauty or comfort.
A perfect palace needs two main wings: one for celebrations and feasts, like in the Book of Esther, and the other for daily living. Both wings should form part of the main façade, connected by a grand central tower. The banquet wing should feature one magnificent room upstairs, about forty feet high, with a preparation room below for large events. The living wing should include a hall and a chapel, both spacious and grand, as well as summer and winter parlours for comfort in different seasons. Beneath these rooms, there should be a large cellar and discreet kitchens, pantries, and storage areas.
The central tower should rise two storeys above the wings, each floor about eighteen feet high, with a rooftop terrace featuring statues and railings. This tower can house rooms as needed. The staircase to the upper floors should be a prominent feature, with elegant balustrades resembling brass and a wide landing at the top. However, avoid placing dining areas for servants below, as their meal preparations will send steam rising through the house like a chimney.
Beyond the front of the house, there should be a courtyard surrounded by lower buildings on three sides. At each corner of this courtyard, place turrets with staircases, positioned outside the main walls to preserve interior space. Avoid paving the courtyard entirely, as stone intensifies heat in summer and cold in winter. Instead, keep grassy sections, neatly trimmed but not overly short, with paths crossing through.
The banquet wing’s rear section should house elegant galleries, featuring domed ceilings and colourful stained-glass windows. The living wing should have rooms for entertaining guests and some private chambers. Design the entire house with double walls, avoiding windows that allow direct sunlight to flood both sides. This ensures rooms for both summer and winter—cool and shaded for hot days, warm and sheltered for cold ones. Avoid houses with too much glass, as they can’t protect you from heat or cold.
For bay windows, which curve outward, they’re excellent for private conversations and shielding against sun and wind. But limit their number to maintain simplicity—perhaps four in total, located on the sides of the court.
Beyond the first court, create a second one of the same size and height, surrounded by gardens. Cloister this inner court with arches on all sides, and include shaded areas at ground level for relaxation. Avoid sinking these spaces below ground to prevent dampness. A fountain or statues in the centre adds beauty and symmetry. Use this area for private lodgings and galleries, ensuring one section serves as an infirmary with suitable rooms for care.
Above the ground floor, include open galleries supported by pillars, allowing views of the gardens. In the upper galleries, consider adding fountains built into the walls for charm and refreshment. At the far corners of the palace, add two richly decorated cabinets with mosaic floors, elegant hangings, and central domes. Include any other refinements you can imagine.
Before the main palace, create three outer courts. The first should be a plain green space with a simple wall. The second, similar but more decorative, could feature small turrets or embellishments. The third court, nearest the palace, should form a square with the façade. Instead of enclosing it with walls, use terraces with railings, supported by pillars but without arches below.
Finally, position utility buildings like stables, offices and workshops at a distance, connected by covered walkways to the main palace. This ensures practicality without compromising the grandeur of the estate.
Bacon Blueprint 