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  • image Image 1 for SM (198) 49/4/4 (199) 49/1/15
  • image Image 2 for SM (198) 49/4/4 (199) 49/1/15
  • image Image 1 for SM (198) 49/4/4 (199) 49/1/15
  • image Image 2 for SM (198) 49/4/4 (199) 49/1/15

Reference number

SM (198) 49/4/4 (199) 49/1/15


Design and working drawing for the Downing Street frontage, January 1826 (2)


198 Elevation of the Front next Downing Street 199 Elevation of part of the New Council Offices next Downing Street and section through wall


(198, 199) bar scales of 1/6 inch to 1 foot


198 as above, New Council Offices &c, labelled: 3'6'' 199 as above, labelled: The Heights to be taken from / the present Building, Plinth, This fascia to be the width of the Cap Mouldings of Pedestals and dimensions given

Signed and dated

  • (198) Lincolns Inn Fields / January 1826

Medium and dimensions

(198) Pen, yellow ochre, sepia and blue washes, pricked for transfer on wove paper (374 x 645) (199) pen, sepia, light red and burnt Sienna washes, pricked for transfer on laid paper with three fold marks (287 x 400)


(198) Charles James Richardson (1809-71, pupil and assistant 1824-1837) (199) Stephen Burchell (1806-?, pupil 1823-28)


(198) J Whatman 1825 (199) fleur-de-lis above cartouche with bar and below, ornate JW


In comparison with an earlier design for the Downing Street frontage (drawing 148), on drawing 198 the entrance to the Privy Council Offices is to the left (west) of the colonnade and the attic over the leftmost four bays is higher so that it matches the height of the pavilion attic. The balustrade has been removed from the attic storey and the western part of the frontage is no longer rusticated. The attic over the pavilion is set back behind a balustrade, rather than being flush with the frontage.



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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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