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  • image SM 40/4/3

Reference number

SM 40/4/3


[25] Variant design for the elevation


Elevation, section through the front of the building and full-size detail of the cornice


bar scale of 2/7 inch to 1 foot and detail Full Size


W. Adair Jackson Esqr / Fountain Court, labelled: (elevation) 3 Try[gliphs], 5 Try[gliphs], 12 Trygliphs, 5 Try[gliphs], 3 Try[gliphs], floor, springing, floor, floor, A, (detail) A Full size, Wall line (twice), (in Soane's hand) Settled with Mess P & R April 8 1805, Copy and dimensions given

Signed and dated

  • 8 April 1805
    Settled with Mess. P & R April 8 1805

Medium and dimensions

Pen, sepia and light red washes, pricked for transfer on laid paper with two fold marks (534 x 696)


Charles Malton (1788)
Pupil February 1802 - December 1809.
Sir John Soane (1753 - 1837)


This elevation design was settled with the clients, Peters and Richards, on 8 April 1805. It corresponds with the plan in drawing [24]. As in earlier designs (e.g. [18], [19], [21]), the elevation is seven bays wide. The facade gives the appearance of two storeys and a raised basement, but the floors that are labelled and visible through some of the windows, and the section to the left of the sheet, show that internally the building has four floors (basement, ground, first and attic). The façade is very plain save for the entablature with trygliphs and the central pediment with antefixes and ornamental wreath with ribbons. The detail to the right of the sheet shows the profile of the string course at 'A' on the elevation. The design in this drawing matches that shown in an anonymous 1830 drawing of Fountain Court.



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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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