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image Image 1 for SM (26) 65/4/38 (27) 65/4/20
image Image 2 for SM (26) 65/4/38 (27) 65/4/20
  • image Image 1 for SM (26) 65/4/38 (27) 65/4/20
  • image Image 2 for SM (26) 65/4/38 (27) 65/4/20

Reference number

SM (26) 65/4/38 (27) 65/4/20


Alternative designs for the new Gallery range (2)


26 Plan of the Gallery, related to drawing 3 and drawn to a larger scale 27 West elevation of the Gallery entrance front with almshouses


(26-27) bar scale of 1/9 inch to 1 foot


26 (pencil) 16 x 14 Women / 12 - 10 / 5 Women each 2 Rooms / 1 Matron 3 Rooms / also 5 kitchens / Dining Rooms / Kitchen / 15 by 13 / 11 by 13 women / 11 x 10 27 Dulwich College

Signed and dated

  • (26) datable to May 1811 (27) May 1811 datable to 27th May 1811 (only date to mention drawing elevation in the day book for May, after the meeting on 16th May)

Medium and dimensions

(26) Pen, pencil and burnt umber wash, partly pricked for transfer, within nine-ruled pen and sepia and black wash border on laid paper (448 x 578) (27) pen, warm sepia, yellow ochre, blue and black washes, watercolour technique, shaded, partly pricked for transfer, within eight-ruled pen and sepia and black wash border on wove paper (335 x 528)


(26) John Buxton (pupil 1809-1814) or Charles Tyrrell (1795-1832, pupil 1811-1816) (only two pupils continually recorded drawing plans in the Day Book entries for May) with pencil additions by Soane (27) George Allen Underwood (only pupil recorded drawing elevations in the Day Book entries for May)


(26) A Stace 1798, fleur-de-lis above cartouche with bar and below, AS (27) Ruse & Turners 1805


The drawings both correspond with drawing 24 for design No. 7, with the Gallery as a single-storey range housing the Gallery with the almshouses running along the entire length of the west front. The almshouses were to consist of two rooms for each of five almswomen, three rooms for the matron, and kitchens and dining rooms. In the plan the straight arcade connected to the centre of the north and south ends is drawn, and additional projecting end bays on the west side have been added in pencil.

The elevation of the entrance front is close to the preliminary design, drawing 7, with the projecting entrance porch crowned with a pediment but without the attic storey. There is the addition of two arched recesses which lead to entrance lobbies to the almshouses. This recessed motif is repeated on later designs for the windows and Gallery entrance.

The building now has a fifteen-bay front with wider end bays of three windows across and single flanking pilasters, to accomodate the additional almshouses. The balustrade and antefix continue to be employed along the flat skyline.


F. Nevola, Soane's favourite subject: the story of Dulwich Picture Gallery, 2000, (26) pp. 38 & 179; (27) 39 & 179



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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