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  • image SM, volume 110/27

Reference number

SM, volume 110/27


[2] Revised design for a pavilion on the bowling green, with perspective of vista through portico


West elevation, with perspective of bowling green and avenue seen through the open portico, and with a relief of a battle scene on a panel on the front of the roof terrace.


5 feet to 1 inch


In ink by Dickinson with numbers on scale; and by Dance at bottom right, Gd, and to right ,in C19 hand, (27)

Signed and dated

  • Undated, but datable 1700

Medium and dimensions

Pen and brown ink over graphite under-drawing with pink wash for walls, green and blue wash for perspective, and grey wash; on laid paper, laid down; 319 x 464


William Dickinson


Strasbourg Lily/4WR, the crest with eight lobes on intermediate flowers


Plainly a design for presentation, this is probably the 'draught' that William III approved in May or June 1700 and which the Earl of Ranelagh then passed to Wren for an estimate. This is a revision of the design at 110/29. It corrresponds with the plan at 110/28, which shows the bowling green and its connecting avenues east and west. There is no reason to assume that this particular design did not originate in Wren’s office. The pen and wash technique is identical to that of the site plan to which this elevation corresponds (110/29).


HKW, V. pp.167-8; Thurley 2003, pp. 189-91 Wren Society, IV, pl.26



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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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