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image SM drawer 62/4/1

Reference number

SM drawer 62/4/1

Purpose

Plan for the coronation route from Westminster Abbey to Westminster Hall, probably for the coronation of George II in 1727

Aspect

Plan

Scale

100 feet to 1 5/16 inches

Inscribed

In pen and brown ink with place names, and names of regiments flanking the processional route; and in black ink outline in red, at top right-hand corner, No 9; and stamped on verso in black ink, OFFICE OF HIS MAJESTY'S WORKS AND PUBLIC BUILDINGS (early C19?).

Signed and dated

1727 (see Notes)

Medium and dimensions

Pen and brown ink over pencil, with some pencil additions, and with pink, green (for processional route) and grey washes; heavily pricked through for transfer; on laid paper, with irregular 40 mm tear at bottom left; 320 x 500

Hand

Unidentified Office of Works hand

Watermark

IHS / IVILLEDARY

Notes

The coronation route shown on this plan can be identified as that of George II, on 11 October 1727, rather than George I's in 1714, since the plan of Westminster Palace on the east side of Westminster Hall and the Court of Requests differs from that shown in a plan of c.1711-15 by William Dickinson at All Souls College (Geraghty, Architectural Drawings of Sir Christopher Wren, 2007, no. 360). Works of repair and alteration took place between the House of Commons and the Painted Chamber in the courtyard on the east side of the Court of Requests in 1719, including the rebuilding of the 'passage gallery' (History of the King's Works, V, 1976, p. 397). The new passage gallery of 1719 appears to be shown on this plan as a line of square piers to the left of the Court of Requests. The hand of the draughtsman is not recognisable from those in the office of Wren around 1714. The coronation route, from the crossing of Westminster Abbey to the dais of Westminster Hall, is marked in green.

Level

Drawing

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

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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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