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image SM 64/5/27

Reference number

SM 64/5/27

Purpose

[95] Design for elevation, not as built

Aspect

Elevation of the South side and Section through the Court

Scale

bar scale of 1/6 inch to 1 foot

Inscribed

as above and The Right Honble / The Lord Eliot

Signed and dated

Lincolns Inn Fields / March 27: 1806
March 27: 1806
Lincolns Inn Fields / March 27: 1806

Medium and dimensions

Pen, sepia and blue washes, shaded, partly pricked for transfer on laid paper (501 x 650)

Hand

Attributed to Brinsley John Storace
Pupil April 1804 - February 1807.

Notes

P. Beacham and N. Pevsner, Cornwall, 2014, p.549 has (of the stables) '... arranged in paired ranges N and S of a central yard with gatepiers forming an entrance at the E end .... Each range has a central two-storey block ... flanked by single-storey symmetrical wings'.

Photographs (SMT file) of the exterior of the stables show that while the plan appears to have the form shown in drawing [94], the elevations differ from what is seen in drawing [95]. So that, as built, windows were pointed (four-centred) and without hood moulds. A new and intriguing detail not seen on the drawings is the row of plain brackets ('modillions') supporting the battlemented parapet.

From the Soane Monumnents Trust files (by Ptolemy Dean on a visit in 1994) it seems that the centre of the south range of the stables has been converted into a house while (at that time) the centre block of the north range was 'in a sorry state'.

An email from Peregrine Eliot, 10th Earl of St Germans (8 March 2016) suggests that 'with some almost insignificant details the drawing ([95] you sent was adhered to in its entirety'.

Level

Drawing

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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