bar scale of ¼ inch to 1 foot
The Revd Mr Richards, AAAA Pipes to carry the Water from / the Roof, BB pipes to carry the Water from / the Entrance, AAAA, BB and dimensions given (verso) The Revd Mr Richards, A This is to be left open to the Floor in / Building but afterwards bricked up
Signed and dated
(copy) Lincolns Inn Fields June 1795 (verso) as recto
Medium and dimensions
Pen and brown madder wash on wove paper with two fold marks (532 x 681) (verso) pen, sepia, brown madder and blue washes, shaded
The office Day Book has entries under an academy for the Reverend Mr Richards on 25, 26 and 27 June 1796. Meyer, Jeans, Seward, Good and Provis are all listed as making drawings. That is Frederick Meyer (1775 - ?), pupil April 1791 - 1796; Thomas Jeans (c.1775 - 1866), pupil August 1792 - 25 August 1797; Henry Hake Seward (1778 - 1848), pupil May 1794 - September 1808; Henry Joseph Good (1775 - 1857), pupil January 1795 - January 1799; and Henry Provis (1760 - 1830), clerk July 1791 - February 1802. On 27 June, 10 drawings and 4 fair drawings were 'sent on the Evening Mail', the four pupils having spent the day making those drawings.
The plan shows the building as 63 feet 9 inches long and 33 feet 9 inches across. The entrance porch has a stair on a horseshoe plan that gives on to a semicircular balcony that is 10 feet wide. (Verso) The instruction 'to leave open to the Floor in / Building but afterwards bricked up' refers to a single, full length window at the end of the building. This was well lit from eight side windows but these were not full length and the single tall , unglazed window at the end would have provided easy access for the workmen.
Digitisation of the Drawings Collection has been made possible through the generosity of the Leon Levy Foundation
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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