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Re-drawings of design B in a Classical style, 1811 or after, ?1820 (2)

Notes

The original drawings for design B have not survived. These record drawings were, from the evidence of the watermark of the plan, made in 1811 or afterwards. Pencil notes on the verso suggest that they illustrated his lectures for a more general audience at the Royal Institution, c.1820. Soane's notes for those lectures - Extracts from different authors, drawings wanted and buildings compared (Soane case 159) has an entry for 22 June 1820 with a very rough plan (pen) labelled : A design to introduce Grecian arch. into the Chinese / dominions & to show how arch. may be abused / 22 June 1820 / Make a large drawing of a design / for an Imperial / dog kennel / Stud of horses / Master of the / Buck hounds / Master of the / Horse This design is inscribed to the / King of the Dandies - / In Russia the peasants / on an estate are considered / as making a part of / the purchase / Approach see Bagaria (Bagheria, Villa Palagonia, Sicily). Plan labelled: Groom, G[room], Triumphal Ent.[rance], Airing / room, a dog / Ken:[nel] ma- (illegible) / Ro--- (illegible) / for / the Master of / (?) Horse or Hounds, M[en] / Hotel for / Master of / (?) All--- (illegible), Apartments

Given the lapse of time between 1778 and 1811-20 , it possible that Soane re-designed his scheme for a a doghouse in a Classical style and that these drawings are copies of a later, partly revised design. The lithograph plate (xxxiv***) in Designs for Public and Private Buildings (1828) shows an elevation for design B as well as a plan and elevation for design A. Comparing the latter with drawing 1 it can be seen that the plain ashlar facade now has banded rustication, the dome is ribbed and the cupola omitted, and the round arched doorways are emphasised by an incised line finished in a Greek key motif - a decoration used later in Soane's career. Of the archaeological sources, the frieze from the Temple of Vesta at Tivoli could have been known from visits, the dates of which are not recorded in Soane's Italian sketchbook. In any case, Soane would have known the building and its details from George Dance's drawings. Paestum was seen by Soane on 26-27 January and 14-16 February 1779 (see Italian sketchbook with notes, 1779, volume 39), though his visits may have come after the presentation of his two designs to the Bishop of Derry 'soon after' 29 December 1778. However, he could have known of Paestum from engravings or possibly the first published book on the subject, The Ruins of Pœstum (1767).

Literature

P. du Prey, John Soane's architectural education 1753-80, 1977, pp.159-162; P. du Prey, 'Je n'oublieray jamais: John Soane and Downhill', Quarterly Bulletin of the Irish Georgian Society, XXI Nos 3&4, 1978, pp.19-20; M.Richardson & M.Stevens (eds), John Soane architect: master of space and light, 1999, p.107 (where it states drawn by C.J.Richardson c.1835 but a check of the Soane Museum's 1837 Inventory found no evidence that he had made this elevation c.1835); D.Guinness, 'An Unpublished watercolour by James Malton from the collection of Desmond Guinness', Journal of the Irish Georgian Society, V, 2003, pp. 226-37

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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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