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image SM 62/6/1

Reference number

SM 62/6/1

Purpose

[5] Survey of the palace, grounds and vicinity with design for a new royal palace overlaid, 3 May 1827

Aspect

Site plan

Scale

bar scale of 4/9 inch to 100 feet

Inscribed

labelled: St James Park, Queens Row, Arabella Row, Lower Grovesnor Row, Buckingham / Palace, Grovesnore Place, Green Park, Bason (sic), Lodges, Picadilly, St Georges / Hospitall (sic), Turn pike, Knightsbrige (sic), Hide (sic) Park

Signed and dated

May 3rd 1827

Medium and dimensions

Pen, pencil, sepia, green, blue and light red washes, pricked for transfer on wove paper (500 x 611)

Hand

John Nash (1752 - 1835)

Watermark

Smith & Allnutt 1823

Notes

This site plan is dated 'May 3rd 1827' and attributed to John Nash, although the date may only relate to the pencil addition of a design for a new royal palace in the north west corner of Green Park (Constitution Hill). This seems likely, as 1827 was the year in which work began on new designs for a royal palace (for example, SM P93). Soane's design was based on Blenheim Palace and was proposed to fit within his projected processional route for the king. Originally intended as a response to Nash's unseating of Soane at Buckingham Palace, official encouragement was added by George IV's interest in Soane's designs while on show at the Royal Academy in 1827 (S. Sawyer, op. cit. above, p. 254).

Literature

S. Sawyer, 'The Processional Route', in M. Richardson and M. Stevens (eds), John Soane, Architect: Master of Space and Light, 1999, pp. 252-63.

Level

Drawing

Digitisation of the Drawings Collection has been made possible through the generosity of the Leon Levy Foundation

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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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