[12/31] Elevation of the completed design for the courtyard elevation of the south range of Queen Mary's Court, omitting the colonnade on the west side

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English Baroque Drawings: architecture, sculpture and garden design
- Greenwich Royal Hospital
  - Revised final scheme under Thomas Ripley, 1729-58

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Reference number

SM volume 109/38

Purpose

[12/31] Elevation of the completed design for the courtyard elevation of the south range of Queen Mary's Court, omitting the colonnade on the west side

Aspect

Elevation

Scale

10 feet to just under ^17/₂₀ inches

Inscribed

In brown ink in unidentified hand, beneath scale bar, South Front in Queen Mary's Court.; and in grey ink with numbering on scale bar; and in C19 hand at top right, 38.

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; 350 x 481

Hand

unidentified hand in office of Thomas Ripley

Watermark

Strasbourg Lily / 4 (same as 109/37)

Notes

The elevation adopts the detailing of the window surrounds and continuous impost course found on the south wall elevation of the chapel, and shown at a preparatory stage in the two large-scale detailed designs, [12/12 and 13]. The other notable change to the design of the south range of King William's Court is in the treatment of the ground floor as a rusticated podium. There is now a clear demarcation, through floor bands and contrasting wall treatment, between this floor and the one above.

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, and fig. 27.

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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