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image Image 1 for SM (6) volume 73/105 (7) volume 73/107
image Image 2 for SM (6) volume 73/105 (7) volume 73/107
  • image Image 1 for SM (6) volume 73/105 (7) volume 73/107
  • image Image 2 for SM (6) volume 73/105 (7) volume 73/107

Reference number

SM (6) volume 73/105 (7) volume 73/107

Purpose

Design for a four-columned triumphal arch, introducing an attic chamber, February 1803 (2)

Aspect

6 Front elevation; half ground floor plan; rough part-section; rough plan of the attic; and (pencil) rough detail of string course 7 Cross section and half ground plan; rough plan of the attic; two rough (pencil) part-plans of the attic

Scale

(6) to a scale (7) bar scale

Inscribed

6 (Soane) Watch, arch, lettered A and B, a a equal and dimensions given 7 (Soane) Centre of col., Qy level of land[in]g / which must determine / the level of attic floor, brick (twice) and dimensions given

Signed and dated

(6) Feb: 4: 1803, Feb: 6: 1803 (7) Feb: 8: 1803

Hand

Soane office and Soane

Watermark

(6-7) Hayes & Wise 1799

Notes

In drawings 6 and 7, the triumphal arch is flanked by single raised Corinthian columns with another set of single raised columns set at an angle to the main face. The attic consists of a plinth with a domed cap above a pedestal with a semicircular opening framing an acroterion enclosing a wreathed eagle. Projecting arms reach forward from both sides of the pedestal, stopped by fluted pilasters on plinths that are aligned with the Corinthian order below. The attic includes a platform inside that is a continuation of the screen wall's parapet. The opening on the front of the attic permits light to enter the attic. Niches and a frieze have been added to a section of wall on the main face, with another part of the wall decorated with a scrolled ornament enclosing a scallop shell.

Level

Drawing

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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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