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Working drawings for the stables, one dated November 1790 (2)

Notes

Drawing 30 shows the mouldings at the front elevation of the stables, for the clock tower, the centre building and the single-storey ends. The cornice of the turret is more pronounced, as it is raised high above ground level and thus less visible from below. The cornice on the centre building is slightly more intricate than that of the end buildings, perhaps for visibility or as a suggested ornamental hierarchy.

Drawing 31 has multiple working drawings for the construction of the stables. The roof over the ride is a simple king-post structure with metal straps. The tie-beam is elevated at a height above the eaves. A king-post roof is also over the turret.

The stalls at Lees Court are 6 feet wide and 8½ feet long, discounting the manger. As drawings 28 and 29 show, there were 26 of these stalls at Lees Court stables.

Sections of the entrance building and the north range are also included in drawing 31, showing the distribution of the first and ground floors. The ceiling of the upper storey over the north range are 6 foot 8½ inches in high.

The verso of drawing 31 has large-scale drawings of the timber frames in the doors and windows. The Diocletian lunettes have wooden mullions, as do the rounded windows facing the interior court.

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Digitisation of the Drawings Collection has been made possible through the generosity of the Leon Levy Foundation

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Sir John Soane's collection includes some 30,000 architectural, design and topographical drawings which is a very important resource for scholars worldwide. His was the first architect’s collection to attempt to preserve the best in design for the architectural profession in the future, and it did so by assembling as exemplars surviving drawings by great Renaissance masters and by the leading architects in Britain in the 17th and 18th centuries and his near contemporaries such as Sir William Chambers, Robert Adam and George Dance the Younger. These drawings sit side by side with 9,000 drawings in Soane’s own hand or those of the pupils in his office, covering his early work as a student, his time in Italy and the drawings produced in the course of his architectural practice from 1780 until the 1830s.

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