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image Image 1 for SM (81) 36/4/18 (82) 36/4/5 (83) 36/4/17
image Image 2 for SM (81) 36/4/18 (82) 36/4/5 (83) 36/4/17
image Image 3 for SM (81) 36/4/18 (82) 36/4/5 (83) 36/4/17
image Image 4 for SM (81) 36/4/18 (82) 36/4/5 (83) 36/4/17
  • image Image 1 for SM (81) 36/4/18 (82) 36/4/5 (83) 36/4/17
  • image Image 2 for SM (81) 36/4/18 (82) 36/4/5 (83) 36/4/17
  • image Image 3 for SM (81) 36/4/18 (82) 36/4/5 (83) 36/4/17
  • image Image 4 for SM (81) 36/4/18 (82) 36/4/5 (83) 36/4/17

Reference number

SM (81) 36/4/18 (82) 36/4/5 (83) 36/4/17

Purpose

[81-83] Sectional designs (3)

Aspect

81 Two cross sections and a longitudinal section 82 Two cross sections corresponding with drawing 81 83 Longitudinal section with domed Painted Chamber, verso, two rough part-elevations by Soane

Scale

(81) bar scale of 1/17 inch to 1 foot (82) bar scale of 1/15 inch to 1 foot (83) bar scale of 1/15 inch to 1 foot

Inscribed

(81) feint pencil dimensions (83) The Section of a Design to render the House of Lords and the Rooms and Offices appertaining thereto more commodious and, verso (Soane) Triumphal / Arch of ? Titus or / ---- ----- (illegible)

Medium and dimensions

(81) Pen, pencil, sepia, light blue and pale yellow washes, shaded with triple-ruled and black wash border on wove paper (683 x 479) (82) pen, sepia, blue and pink washes, shaded with quadruple-ruled and black and raw umber washes border on laid paper (264 x 417) (83) pen, sepia, light blue and pale yellow washes, shaded with triple-ruled and black wash border on wove paper (461 x 675)

Hand

(81-83) Frederick Meyer (1775-?, pupil April 1791-1796) (83 verso) Soane

Watermark

(82) J Whatman

Notes

The alternative cross sections shown in drawings 81 and 82 are close to each other though, for example, drawing 82 has a window above the throne while drawing 81 does not. Externally each cross section has a pediment fronting the riverside elevation. The longitudinal sections differ so that drawing 83 has (surprisingly) a domed Painted Chamber while drawing 81 has instead a triple-arched arrangement with Diocletain windows for the same Chamber which the majority of the plans (1-51) show as a three-bay vaulted space. All else is broadly similar though with a porch at the left-hand side (westwards into Old Palace Yard) on drawing 83 and a portico on drawing 81.

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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