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image SM, volume 110/9

Reference number

SM, volume 110/9

Purpose

[6] Presentation design for the east (park) front

Aspect

Elevation

Scale

Just over 10 feet to 1 inch

Inscribed

In ink by Dance at bottom left, Gd, and to right in C19 hand, (10)

Signed and dated

Undated, but within range 1689-90

Medium and dimensions

Pen and brown ink with grey wash over graphite under drawing; two matching sheets of thin ‘post writing paper’, heavily trimmed, pasted and folded at centre, the right side laid down; the left side backed with linen; 313 x 814, made up from 313 x 405 (left sheet) and 313 x 415 (right sheet)

Hand

Hawksmoor

Watermark

On both sheets: Strasbourg Lily / 4WR

Notes

The drawing is a pair with 5, above (110/10), and may have been drawn on the corresponding watermarked halves of the same two sheets of paper.Although highly finished, the drawing is at a relatively early stage in the construction history of the Park front from 1690 as the details above the level of the main entablature do not correspond in all respects with the fabric. The pediment relief is not that carved by Cibber in 1694, the attic has blank panels instead of windows above the slopes of the pediment, and the balustrade has single pedestals across most of the central portion instead of three-part pedestals. Another difference is in the positioning of the roundels above the first-floor windows. They are set slightly below the band course at main cornice level, whereas in the fabric and on 110/10 they join this band course. A likely date for the drawing is late in 1689, when work had progressed up to the attic level of the western two thirds of the Privy Garden front.

Literature

Wren Society, IV, pl. 17, 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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