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image SM volume 59/86

Reference number

SM volume 59/86

Purpose

[133] Presentation drawing of an alternative design for the entrance hall, 2 January 1798

Aspect

Perspective and ground floor plan

Scale

bar scale of 1/10 inch to 1 foot

Inscribed

(upper case) The Marquis of Abercorn / A design for / The proposed entrance at Bentley Priory, and plan labelled: Vestibule / 45' by 18', Porte-cochère

Signed and dated

Lincolns Inn Fields Jan: 2d 1798

Medium and dimensions

Pencil, pen and coloured washes, within single-ruled border on laid paper (320 x 459)

Hand

Seward, Henry Hake (1778--1848), draughtsman
Henry Hake Seward (c. 1798-1848, pupil 1794-1808) and Henry Joseph Good (1775-1857, pupil 1795-1800)
Pupil 1795-1800 Henry Joseph Good, draughtsman
Henry Hake Seward (c. 1798-1848, pupil 1794-1808) and Henry Joseph Good (1775-1857, pupil 1795-1800)

Watermark

J Whatman 1794

Notes

Drawing 133 shows an entrance vestibule fronting the old house and fitted between the existing screen wall and the new east wing. The entrance projects forward in a bow, with large tripartite windows (each with a segmental crown) to either side of a long corridor linking to the porte-cochère in front of the house. The perspective shows the interior of the vestibule looking north, the tripartite windows flanked by apsidal alcoves and the segmental-arched entrance framed by Doric columns. A tall cornice surrounds the room and aligns with the window transoms.

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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