Explore Collections Explore The Collections
You are here: CollectionsOnline  /  Presentation design for the house (grand scheme)
top left corner
top right corner
bottom left corner
bottom right corner
image SM volume 111/22

Reference number

SM volume 111/22

Purpose

Presentation design for the house (grand scheme)

Aspect

3 Elevation of principal front

Scale

100 feet to 12 9/10 inches (10 feet to 33 mm)

Inscribed

In pencil by John Talman, at lower right centre, D of Newcastle; and to right of scale bar in pencil in C18 hand, 100 feet in Scale; and to right of this in pencil with calculations by Arthur Bolton, c.1920s; and on verso, on left side, in pencil, by John Talman, D of Newcastle at Haughton belonging to ye mark [small triangle with circles at each apex, with triangle and asterisk below], and on right side, in pen and brown ink on ruled pencil lines, by an unknown hand (possibly William Talman's), The principal front of an house at Haughton in Northamptonshire [sic], designed for his Grace the Duke of Newcastle.

Signed and dated

c.1702-03

Medium and dimensions

Pen and brown ink with grey and black washes, and with grey ink and grey wash for the busts and statues; some sketched pencil additions to first-floor pedestals; and pencil, with some ink additions in tympanum of pediment.

Hand

William Talman

Watermark

Strasbourg bend

Notes

This proposal for a grand palazzo-style country house develops the scheme in the preliminary plan in 1 (111/31), and is closely related to the plan in 2 (111/28), to which it corresponds dimensionally. Worsley has argued that Talman used a preliminary design by Palladio for the Palazzo Chiericati as a source for this elevation. The drawing in question, however (RIBA SC208/VIII/IIr), was not in his collection; it was acquired by Lord Burlington in Italy in 1719 (see H, Burns, G. Beltramini, eds., Palladio (London, 2008), cat. 45). The resemblance with the Palazzo Chiericati is generic, since Talman is here adopting the same palazzo form, with an enriched piano nobile at first-floor level, the first-floor windows having broken pediments framing busts, with mezzanine windows directly above these. The grey pen-and-wash figurative drawing is a hallmark of Talman's drawing style. It is found on less finished examples, like the alternative scheme at 7, below (111/34), where crouching lions, similar to those drawn in pencil in the pediment tympanum, are placed above the pediment. Talman's figures are awkwardly proportioned, with over-sized torsos and limbs, and cat-like faces with close-set features.

Literature

Wren Society, XII, pp. 7-8, pl. 39; J. Harris, William Talman: Maverick Architect (1982), p. 38, pl. 69; G. Worsley, 'William Talman, some stylistic suggestions', The Georgian Group Journal, 1992, pp. 14-16; G. Worsley, Classical Architecture in Britain: The Heroic Age, 1995, p. 86, pl. 103

Level

Drawing

Digitisation of the Drawings Collection has been made possible through the generosity of the Leon Levy Foundation

If you have any further information about this object, please contact us: drawings@soane.org.uk

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.

Browse (via the vertical menu to the left) and search results for Drawings include a mixture of Concise catalogue records – drawn from an outline list of the collection – and fuller records where drawings have been catalogued in more detail (an ongoing process).