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bottom left corner
bottom right corner
image SM 33/3/B35

Reference number

SM 33/3/B35

Purpose

[29] Staircases I K, L M (lobby) and upper part

Aspect

Sectiion of the Lobby / on the Line I K, Section of the Lobby / on the Line L M and The Plan of upper part / of Staircase

Scale

to a scale

Inscribed

as above, The Marquis of Buckingham, Design for Staircase &c to the Gothic Library at Stowe, a:a equal space at the Top / & Sides of the Windows, a a a, Section of the Lobby I K. ante room, Library, The Plan of the upper part / of staircase, Section of the Lobby / on the line L M, Dimensions of B --- / Return. Flat ----, Groined (twice), Niche Heads, d note in forming the Bracketing / for the Ceiling at this end observe / the Arches against the wall e.e. / dormer into the Niche Head, (red pen) The Basso Rellievo settled by the Marq: / to be placed here / and the niche omitted / with Mr Rothwell / at Stowe

Signed and dated

Copy / Lincolns Inn Fields

Medium and dimensions

Pen, red pen, pencil, sepia, blue, yellow and light red washes, pricked for transfer, on laid paper (685 x 525)

Hand

Soane office

Notes

See drawing [28] for the same design though labelled (on drawing [26]) G H instead of I K as here.
This drawing shows (in a sketchy way) Soane's idea for top lighting. M. McCarthy discusses this in his article on Stowe, viz. 'Another characteristic device, by which Soane found expression for that 'lumiere mysterieuse' he so prized is seen in the lighting of the upper flight of the staircase. A tapering hexagonal cone conducts natural light from the roof to the relatively shallow groined ceiling'. (M.McCarthy, 'Soane's ''Saxon '' Room at Stowe', Journal of the Society of Architectural Historians, XLIV, 1985, p.145)

Level

Drawing

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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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