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image SM (62) 36/4/7

Reference number

SM (62) 36/4/7

Purpose

[62] Design for river and flank elevations, dated 29 July 1794

Aspect

Elevation of front to river and of flank elevation, (verso) alternative elevation for river front

Scale

(recto and verso) bar scales of 1/20 inch to 1 foot

Signed and dated

July 29 1794

Medium and dimensions

Pen, sepia and raw umber washes, shaded with quadruple-ruled and sepia wash border on laid paper (278 x 453)

Hand

(recto) Thomas Jeans (c.1775-1866, pupil August 1792 - 25 August 1797), (verso) Frederick Meyer (1775-?, pupil April 1791-1796)

Watermark

ARK

Notes

The shorter elevation (about 100 feet) for the front facing the river Thames is nine bays wide with a rusticated basement. The principal storey has three tall windows either side of an in antis centre that has two Ionic columns and two antae that are one and a half-storeys high and support a horizontal pedestal with sculpted trophies and behind which rises a pediment with acroteria and sculpted figures.

The flank elevation is 17 bays wide (about 240 feet) and has a rusticated basement. The projecting centre is three bays wide and has six Ionic columns, a storey and a half tall, that support a pediment with acroteria and sculpted figures.

The design on the verso is for a nine-bay elevation without an order. Above the rusticated ground floor, the principal storey has tall pedimented windows at each end and in the centre, and between these are three windows set into round-arched recesses. The attic storey is three bays wide and crowned by a tablet with trophy of shield, lances and flags.

S. Sawyer, 'Soane at Westminster', PhD thesis, Columbia University, 1999, p. 186 (drawng 62 verso), p. 189 (drawing 62 recto).

Level

Drawing

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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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