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You are here: CollectionsOnline  /  [40] Design for an Ionic column, architrave, and balustrade at the base of the tower, St Peter's, Walworth, London, January 1823
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image SM 54/6/24

Reference number

SM 54/6/24

Purpose

[40] Design for an Ionic column, architrave, and balustrade at the base of the tower, St Peter's, Walworth, London, January 1823

Aspect

Elevation and section of a detail of the west front. The base and capital of the Ionic column are shown in elevation, profile and section. Above the frieze is ornamented with fret. Above is the plinth of the balustrade with a section cut through the dado to show the half baluster, and finally, the cap at the corner of the cornice. The elevation has part of the flanking wall. There are some pencil additions such as a square at the roof level of the profile, and an ovolo design next to the Ionic capital in the elevation

Scale

to a scale

Inscribed

Newington Church / (Copied) July 1823 / Balustrade, Entablature, & Column of Portico / Portland / Bath / Bath Stone / Bath Stone / Portland / Bath Stone / York Stone / Bath / Bath Stone / York Stone / Portland / Portland and some dimensions given for the balustrade in pencil

Signed and dated

  • January 1823
    Lincoln's Inn Fields / Jan.y 1823

Medium and dimensions

Pencil, pen, wash, coloured washes of blue, pink, and yellow, pricked for transfer on wove paper (734 x 530)

Hand

Possibly Mee, Arthur Patrick (1802--1868), draughtsman
In the Office Day Books only Arthur Mee is recorded as working on Sections for the church in January 1823
Probably Stephen Burchell (1806 - c.1843), draughtsman
Some of the letter forms such as the upper case N, and B with its curled tail are similar to entries in the Office Day Books for Burchell

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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