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image Image 1 for SM (123) volume 76/50 (124) volume 76/51
image Image 2 for SM (123) volume 76/50 (124) volume 76/51
  • image Image 1 for SM (123) volume 76/50 (124) volume 76/51
  • image Image 2 for SM (123) volume 76/50 (124) volume 76/51

Reference number

SM (123) volume 76/50 (124) volume 76/51

Purpose

Site progress drawings, 20-26 November 1814 (2)

Aspect

123 View of part of the New Stables at Chelsea Hospital (west side) with a small pile of broken bricks and some planks in the foreground. The return three-bay wings await their roofs. 124 Elevation of the Back Front of Stables at Chelsea Hospital (west side) showing on the right-hand a pavilion without a roof

Scale

(124) bar scale

Inscribed

123-124 as above

Signed and dated

(123) Novr. 20. 1814 (124) November 26th: 1814.

Hand

Soane office

Notes

The view of the stables represented in drawing 123 shows the west range, with a central doorway that extends through as a passageway, for pedestrians (being too narrow for a carriage to pass). The arched openings with jambs (on which the doors would be hung) all lead to double stalls. The two wider arches would eventually have large double doors across them and lead to coach houses. Both of these have a side door leading into further stalls (as can be seen from the plan in drawing 129). The partly constructed ranges to the north and south also had stalls.

Drawing 124 shows the other side of this west range. Ptolemy Dean describes this west front facing the road, with its blind arcading, as 'a Dulwich in compression'. An attic is shown above and was presumably accommodation for the grooms or coachmen.

Literature

P. Dean, 'The Royal Hospital Chelsea I- Pre-1815' in Sir John Soane and London, 2006, p.68

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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