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  • image Image 1 for SM (57) 65/4/54 (58) 15/1/5
  • image Image 2 for SM (57) 65/4/54 (58) 15/1/5
  • image Image 1 for SM (57) 65/4/54 (58) 15/1/5
  • image Image 2 for SM (57) 65/4/54 (58) 15/1/5

Reference number

SM (57) 65/4/54 (58) 15/1/5


Alternative design and presentation drawing for approved plan (2)


57 Half-elevation of east front and (verso, pencil) slight unidentified plan with calcuations 58 Elevation of east front and plan of the upper storey of the Gallery


(57) bar scale of 1/8 inch to 1 foot (58) bar scale of 1/6 inch to 1 foot


57 (pencil) a calculation given 58 God's Gift College / in / Dulwich, sister / No II, sister / No VI

Signed and dated

  • (57-58) datable to early 1812

Medium and dimensions

(57) Pen and sepia wash, partly pricked for transfer on wove paper (473 x 681) (58) pen, pencil, yellow ochre and sepia washes, shaded, within an eight-ruled pen and sepia and black wash border on wove paper (620 x 940)


Soane office


(58) J Whatman 1808


These drawings show a different design for the east front without the projecting entrance porch. The idea for the east porch was abandoned due to a shortage of funds. In terms of the design this alteration gave greater prominence to the Mausoleum on the other side. The east front is an austere and symmetrical structure with no central feature. Clerestory windows reappear as an alternative to the skylights. An arcade with plain round arches runs along the whole length of the lower storey. Drawing 57 is a half-elevation of an almost identical design seen in drawing 58 but a pitched roof is introduced along the wing and the pediments on the end bays are replaced with parapets.


F. Nevola, Soane's favourite subject: the story of Dulwich Picture Gallery, 2000, (57) pp. 46 & 181; (58) pp. 47 & 181



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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