Explore Collections Explore The Collections
You are here: CollectionsOnline  /  [7/5] Study design for the lower and upper 'terminating pavilions' on the outer elevations of the base wing and infirmary ranges
top left corner
top right corner
bottom left corner
bottom right corner
image SM volume 109/47

Reference number

SM volume 109/47

Purpose

[7/5] Study design for the lower and upper 'terminating pavilions' on the outer elevations of the base wing and infirmary ranges

Aspect

Elevations, with half-plan of lower pavilion; the turret of lower pavilion is partly in perspective view

Scale

5 feet to 1 inch

Inscribed

In pen and brown ink by Hawksmoor on panel above first-floor opening of lower pavilion, ANNA. REG; and within ground-floor arch of lower pavilion, Lower / Terminateing / pavillion / in No 4.; and on plan below, Plan of ye / Lower part; and below elevation of upper pavilion, The Lower ^ Upper Terminateing pavillion / by reason of ye Rising Grounde / they are No. 8.; and with number dimensions on lower pavilion in C19 hand at top right (top left in volume), 47.

Signed and dated

Undated, but datable c.1711

Medium and dimensions

Pen and brown ink over graphite under-drawing, with grey wash; on laid paper, laid down, in two joined pieces, top piece pasted over bottom sheet at the level of the cornices of the pilasters of the turrets; 475 x 340

Hand

Hawksmoor

Watermark

On main sheet, Strasbourg Lily / LVG

Notes

The two pavilions are set alongside each other at their respective levels, which as Hawksmoor explains is by reason of ye Rising Grounde. The difference in level of 15 feet is taken up by the tall angled pedestals of the lower pavilion. The common level shared by both pavilions is at the sills of the central openings of the towers. The complete long elevation, [7/2], shows this level to be at the first floor of the King Charles II Building, i.e. the piano nobile of the original palace range. This level is accentuated across the whole elevation in [7/2] and is one reason for the elevation of the loggia of the infirmary above a half-storey-height basement in [7/3].

These two detailed designs are revisions of the pavilions in [7/2]. The pavilions have lost their plinth-like podiums and are broader in relation to their heights. The ground-floor arch of the lower pavilion is higher in relation to the central opening; the arch is now set just below the band course at the bottom of this opening. The central openings of both pavilions now have square rather than round columns on each side. The pavilions appear to relate more closely to the plans of the infirmary in [7/4] and [7/6] than they do to the elevation of the infirmary in [7/3]. They anticipate the larger-scale and more baroque treatment in the second enlargement scheme with its oval court.

The device of angled corner piers contrasting with flat-faced surfaces at an adjacent level of a facade (above or below) reflects the massing of the corner attics at Blenheim Palace, c.1706. These turrets have canted corner buttresses, while the surfaces below are planar. Here the massing of angled and flat surfaces is reversed. The turrets are formed in a series of parallel flat surfaces, whereas the lower stages are a combination of flat and angled surfaces. The introduction of perspective rendering in the turrets to show the plane of the rear arch behind the front one seems intended to emphasis the parallel plane formation of the upper part of the pavilion. The gabled turret in these study designs reappears in the corner turrets of the chapel in the second enlargement scheme [8/3].

Literature

Wren Society, VI, pl. 35, right

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.

Browse (via the vertical menu to the left) and search results for Drawings include a mixture of Concise catalogue records – drawn from an outline list of the collection – and fuller records where drawings have been catalogued in more detail (an ongoing process).