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You are here: CollectionsOnline  /  [12/26] Record drawing of completed design for the west side of the east range of Queen Mary's Court
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image SM volume 109/33

Reference number

SM volume 109/33

Purpose

[12/26] Record drawing of completed design for the west side of the east range of Queen Mary's Court

Aspect

Elevation

Scale

10 feet to 17/20 inch

Inscribed

In brown ink in unidentified hand, beneath scale bar, East Front of Queen Mary's Court; Front struck out in pencil in C19 hand and changed to side, and facing WEST added at end; and with numbering on scale bar; and in ink in C19 hand at top right, 33.

Signed and dated

Undated but datable 1735

Medium and dimensions

Pen and grey ink over graphite under-drawing, with grey wash; on laid paper, laid down; 340 x 477

Hand

Unidentified hand in office of Thomas Ripley

Watermark

Countermark: IV

Notes

The courtyard elevation of the east range of Queen Mary's Court is identical in design to the east-facing elevation (the inscription at the bottom of the sheet is in error). The only differences are in details of the elevation: the omission of dressings around the windows of the central pavilion, the introduction of a Diocletian window in the pediment, and the absence of basement doors in the flanking ranges. Ripley's source for his central feature may have been Palladio's Villa Godi, which has a three-bay arched loggia and a roof gable that rises above the slopes on each side (see Quattro Libri, Book II, p. 65).

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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