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You are here: CollectionsOnline  /  [5] Presentation design for the elevation of the south (Privy Garden) front, nearly as executed
top left corner
top right corner
bottom left corner
bottom right corner
image SM, volume 110/10

Reference number

SM, volume 110/10


[5] Presentation design for the elevation of the south (Privy Garden) front, nearly as executed




10 feet to 19/20 inches


In ink by Dance at bottom left, Gd, and to right in C19 hand, (11)

Signed and dated

  • Undated, but within range 1689-90

Medium and dimensions

Pen and brown ink with grey wash over graphite under drawing Laid paper, laid down (probably from same sheets as 110/9 as both have laid lines 30 mm apart) 309 x 844, from 309 x 421 (left sheet) and 309 x 430 (right)




Countermarks: combined PVL on both sheets (for Piet van der Ley)


The scale of this presentation drawing for the Privy Garden front appears to have been added by another hand, as it produces dimensions about 4% greater than those in Hawksmoor’s marked-up elevation (1, above; 110/8). The drawing is at a later stage than 110/8 and the related large-scale study for the central pavilion (2, above; 110/15), as the side windows of the central pavilion have pediments rather than plain entablatures. It is probably the final scheme for approval prior to construction. The roof of the elevation is only shown in graphite outlines.
The drawing also differs in the detailing of the attic storey above the central applied portico and may date before October 1689 when construction reached this level. It certainly pre-dates the final sculptural detailing of the facade from mid-1691, when Gibbons was paid for the relief carving of trophy ornaments which differ from those shown on this drawing. In particular, no armorial relief is shown over the central first-floor window.


Wren Society, IV, pl. 17 bottom



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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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