Finished design for an unidentified villa, probably by William Dickinson, c.1710-24

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English Baroque Drawings: architecture, sculpture and garden design
- Miscellaneous designs and groups of drawings
  - Design for a villa attributed to William Dickinson

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Reference number

SM volume 111/46

Purpose

Finished design for an unidentified villa, probably by William Dickinson, c.1710-24

Aspect

Elevation and plan

Scale

10 feet to ^29_/₃₂inches (23 mm)

Inscribed

By Dickinson in pen and brown ink with dimensions of rooms

Signed and dated

c.1710-24

Medium and dimensions

Pen and brown ink with grey wash over pencil under drawing; 287 x 247

Hand

William Dickinson

Watermark

faint crown

Notes

The attribution to Dickinson is based on comparisons with his autograph designs for Pembroke House, Whitehall (SM volume 111/49, 50), where the scale bar markings, outline techniques for cornices and profiles, and the handling of washed shading in the windows openings are very similar (see also his drawings for the Bowling Green Pavilion at Hampton Court in c.1700, SM volume 110/27-29, and for the altar and reredos of the Hampton Court chapel, 111/51, 56). The proposal is for a building just over 100 feet long and 33 feet deep, perhaps a design for a garden villa, with orangery pavilions left and right, since these long rooms with tall windows are unheated. Steps go down from the inner sides of these rooms to the basement floor.

Literature

Wren Society, XVII, pl. 49, bottom

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.

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