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Record drawings of the gated entrance, one dated 30 July 1832 (2)


Of drawings 236 and 237 the former is obviously a preliminary sketch for the latter. They show the gated entrance to Pitzhanger with its two side gates and a partial view of the lodge on the right. All the hallmarks of Soane's earlier designs for the structure are there, and Richardson has shown only a glimpse of the house, in keeping with Soane's ideas on angles of perspective and the Picturesque.

One difference from earlier designs for the gated entrance can be seen in the addition of vase finials in place of pine-cones surmounting the canopy dome caps. At this stage, Soane indulged in a certain amount of theoretical re-design in the light of changed circumstances; the finial alteration could well be a feature of this.

These sketchbook volumes contain watercolours all by Soane's pupil C. J. Richardson, many of them being signed or initialled and in the same hand.

See also drawing 240 for a view of the entrance gateway.


B. De Divitiis, 'Plans, Elevations and Perspective Views of Pitzhanger Manor-House', pp. 55-74, The Georgian Group Journal Vol XIV, 2004, p.55



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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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Contents of Record drawings of the gated entrance, one dated 30 July 1832 (2)