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image SM volume 109/17

Reference number

SM volume 109/17

Purpose

[11/3] Plan of the basement of King Charles II Court, c.1728, showing existing fabric and proposed alterations

Aspect

Plan, shaded to distinguish between foundation structure and inhabited areas

Scale

20 feet to 1 inch (in later hand, on separate attached sheet at bottom)

Inscribed

In brown ink in unidentified hand (?Hawksmoor) at top, King Charles 2.d Court / The Cellar Floor; and at bottom centre, by Hawksmoor, The Terrace Next ye Thames; and in graphite by Hawksmoor with identifying names and titles on plan: top left, Cellar / vaulted, kitchen / not vaulted, Lt Constable; and bottom left, Nothing, Captain, Cellar / Not vaulted (twice), vaulted, Nothing (?); and within plan, Atrium Carol 2s, and to right of plan, all vaulted, and with dimensions and room numbers on the plan, some altered; and with numbering of scale bar in graphite on left-hand side.

Signed and dated

Undated, but datable c.1728

Medium and dimensions

Pen and brown ink with grey wash; pen shading for wall on north side of site; on laid paper, laid down, with reinforcing strip added on right side and 50mm strip added at bottom, probably c.1735; 550 x 350.

Hand

Hawksmoor

Watermark

small fleur de lys; IV

Notes

This drawing was prepared with [11/4] to explore proposed adaptations and alterations to the fabric of the already enlarged buildings of King Charles II Court. It shows adjustments to the internal openings, partitions and staircases of the base wing within a ground plan which includes the north wing in its final form.

Literature

Not in Wren Society

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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