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You are here: CollectionsOnline  /  [12/3] Record drawing of the north elevation of King Charles II Building and Base Wing, illustrating a design for a large sculptural group over the central link bay, c.1731
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image SM volume 109/29

Reference number

SM volume 109/29

Purpose

[12/3] Record drawing of the north elevation of King Charles II Building and Base Wing, illustrating a design for a large sculptural group over the central link bay, c.1731

Aspect

Elevation

Scale

7 feet to 1 inch

Inscribed

In black ink above scale bar in unidentified hand, a scale of 30 Feet, and in graphite with numbers below scale bar; and at bottom right in C19 hand, 29.

Signed and dated

Undated, but datable c.1731

Medium and dimensions

Pen and dark grey ink over graphite under-drawing, with grey washes; on laid paper, laid down; four vertical folds, with some cracking and tearing along the folds; 462 x 705

Hand

Unidentified draughtsman in the office of Thomas Ripley

Watermark

Strasbourg Lily/4; IHS / IVILLEDARY

Notes

The drawing was probably prepared after [12/2] to illustrate a design for sculptural relief over the central bays of the north ranges of the Queen Anne and King Charles Courts. The relief busts on the globe probably represent King George II and Queen Caroline. Colen Campbell's perspective in Vitruvius Britannicus, vol. III (1725), pp. 3-4, shows the front with tall, curve-topped turrets over both central bays (see Bold 2000, fig. 156). The turret on the Queen Anne's Court was not built and the one on the King Charles Court was removed in c.1731-32 . The statuary shown in the left pediment was executed. It duplicates the group carved in the central pediment of the main front of the King Charles II Building by Joshua Marshall in about 1671.

Literature

Wren Society, VI, pl. 43.

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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