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image SM volume 109/26

Reference number

SM volume 109/26

Purpose

[12/22] Plan of the attic floor of the completed design of Queen Mary's Court, illustrating the accommodation and room distribution, with schedule of the accommodation in the whole Court

Aspect

Attic floor plan

Scale

Just under 20 feet to 1 inch

Inscribed

In brown ink by unidentified hand, at top, Attic Storey of Queen Mary's Court. / Private men 263; and in centre of plan, In base Story - - 144 / In Principal Story - - 248 / In Half Story - - 248 / In Attick Story - - 265 / ---- / 905; and below: Boys - - 200 / ---- / Men and Boys in all 1105 / And two Appartments for the Master & Assistant; and in C19 hand at top and bottom of right side of sheet, 26.

Signed and dated

Undated, but datable c.1735

Medium and dimensions

Pen and grey ink over graphite under-drawing, with grey wash; brown ink for inscriptions; on laid paper, laid down, trimmed at top (when pasted in volume?) and with reinforcing backing strip on right edge (top of volume); 503 x 347

Hand

Unidentified hand in office of Thomas Ripley

Watermark

Countermark: IV

Notes

The total number of men given in the legend (905) falls short of the actual number from a count of the cubicles on the plans of all four levels, but only by 40 (865). The shortfalls are only at basement and principal floor levels and they are nowhere near as great as the shortfalls on the King William's Court plan (411 compared with 522; see Notes on [12/21]). The apartments for the Master and his Assistant would probably have been in heated rooms either side of the entrance of the basement story of the building (see [12/16]).

Literature

Axel Klausmeier, Thomas Ripley, Architekt: Fallstudie einer Karriere im Royal Office of the King's Works im Zeitalter des Neopalladianismus, Frankfurt am Main, 2000, pp. 113-24 Not in Wren Society

Level

Drawing

Digitisation of the Drawings Collection has been made possible through the generosity of the Leon Levy Foundation

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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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