[44] Design for re-modelling the Painted Chamber,c. 1795 or before

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Sir John Soane office drawings: the drawings of Sir John Soane and the office of Sir John Soane
- Office of Works
  - London: Palace of Westminster: designs for alterations and additions, 1793-1828 (499)
    - London: House of Lords, Palace of Westminster: unofficial (mostly domed) designs, 1793 - May 1794 and after February 1795 (58)

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Reference number

SM (44) P353 (was P284) in (Model Room)

Purpose

[44] Design for re-modelling the Painted Chamber,c. 1795 or before

Aspect

(44) Interior perspective with inset plan

Signed and dated

c.1796 see notes

Medium and dimensions

Pen and coloured washes (740 x 575 approximately), framed

Hand

Frederick Meyer (1775 ?, pupil April 1791-1796)

Notes

The inset plan shows an entrance, a part of Westminster Hall, the Painted Chamber, a lobby, the House of Lords, and offices. None of the plans (Domeless designs, 1-51) correspond with this inset plan. One of several designs for re-modelling the Painted Chamber, this may be the earliest. It shows Ionic columns on pedestals that support a cross vault, domical vault (or canopy dome) and another cross vault. The room is lit by Diocletian windows set high, the floor is chequered and there are two banks of four steps. The perspective is not by J.M. Gandy and thus was probably made before January 1798 when he joined Soane's office. Frederick Meyerseems a more likely draughtsman and if so,the drawing must date not later than 1796 when he finished his five-year pupilage. It may have been the drawing for an 'Entrance front and interior' exhibited at the Royal Academy in 1795 (A.Graves, RA exhibitors, 1905-06, pp.201-2).

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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