- English Baroque Drawings: architecture, sculpture and garden design
In the Warrant design drawings of April 1696 the base wing of the King Charles II Building has hipped roofs over the attics of its end pavilions rather than the balustraded attics shown here. It also has a a curved rather than a triangular pediment over the central pavilion (see Wren Society, VI, pl. 9). The Warrant design was revised before the start of work in June 1696: the depth of the base wing was increased by 3 or 4 feet, the end pavilions were redesigned with flat roofs behind parapets, the windows were grouped more closely together, and the boader angle piers were given banded brick quoins (see [5/1]).
The present drawing was probably prepared soon after February 1705. One of its purposes would have been to bring the end and central pavilions of the base wing closer to the treatment envisaged in the model of 1699 (see , Introduction). In the model, the end pavilions have balustraded attics and applied orders at the angles. The pavilions were built in brick, and with quoins rather than applied orders. They are shown in this form in Jan Griffier the Elder's painting, 'Royal Yachts on the Thames with Greenwich beyond' of c.1712 (see Bold 2000, back cover illustration). In November 1711, when the decision was taken to take down the north pavilion of the base wing, it was referred to as 'the Pavilion of brick at the North-West Angle' (Wren Society, VI, p. 65).
On 18 September 1707 Hawksmoor was ordered to 'prepare a scheme for finishing all the remaining parts of the West Side of the Hospitall, and the Columnade there ... that the same may be put in order to be finished next summer' (Ibid., p. 57). The work was not completed, for in March the following year the Directors ordered 'that no further expense be made in finishing the West Side, but what is absolutely necessary for closing what is now in hand'. This drawing is probably connected with the 1707 proposals, as it would still have been current at that time.
The central door frame, with its small-scale quoin details, does not appear to have been executed in this form.
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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