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image Image 1 for SM 71/2/58A
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  • image Image 2 for SM 71/2/58A

Reference number

SM 71/2/58A


Design for the arches of the Royal Entrance, 25 July 1822


Plan, elevation and section of an arch; (verso) plan of the Royal Entrance and detail of the cornice of the screen


bar scale of 2 inches to 1 foot; (verso) bar scale of 1/6 inch to 1 foot


labelled: These to be worked on the inside outside only 27th July and some dimensions given

Signed and dated

  • 25 July 1822
    Lincolns Inn Fields / 25th July 1822

Medium and dimensions

Pen, yellow ochre, black, blue and pink washes, shaded (verso: pen and light red wash), pricked for transfer on wove paper (699 x 556)


Soane Office


RP 1817


Alternative designs for the tracery in the four-centred arches of the arcade are shown on the left and right hand sides of the arch. The left hand side has a quatrefoil and mouchettes while the right hand side might be considered to show a later, more complex Gothic style. The screen at the bottom of the arch is to be 'worked on the outside only' - perhaps as a matter of economy. The difference can be seen in the section to the left of the sheet where the back of the screen is flat but the front is carved. The screen was later removed from the design. The blue

'The Gothic window frames are tinted blue to indicate that they were to be cast iron, which would make them cheaper and faster to fabricate than if they were made of stone' (S. Sawyer, Soane at Westminster, PhD thesis Columbia University, 1999, pp. 403-4).



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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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