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- 1805-12
The museum, measuring 81 feet 9 inches by 40 feet, is lit by three circular lanterns, 12 feet in diameter. In the double-height space, a gallery and glass cases are ranged around the walls. The anatomy theatre has no windows and is presumably also top-lit.
A plan at the Royal College of Surgeons (2/96(36)), drawn by Dance but signed 'J Lewis' and inscribed '(Design No.4) / Plan of the Ground Floor of the Royal / College of Surgeons with additions and improvements / NB The Columns may be omitted as they darken the Entrance' is broadly the same as the design catalogued above though, for example, three rectangular lanterns light the museum, its ante-room is shown with corner alcoves and without twin spiral stairs, the anatomy theatre has two windows on to Portugal Street and a circular lantern and the benches ae more closely packed. The reference to 'Columns may be omitted' is to the pair of attached columns either side of the front door of No.41. It is likely that the Surgeons' drawing preceded the more developed plan on [SM D5/3/23]. The Building Committee minutes for 5 January 1805 record that comparison was made with a 'former plan' and that the 'plan now presented is best adapted ...' (RCS Archive).
In a discussion of Soane's use of top-lighting at Dulwich, Waterfield (1987, pp.11-12) notes that Dance employed a more sophisticated version of the top-lighting used in his Shakespeare Gallery for the Royal College of Surgeons museum in a style close to Dulwich (designed by Soane from 1811).
REPRODUCED. G. Waterfiled, Soane and after, the architecture of Dulwich Picture Gallery, catalogue of an exhibition at the Dulwich Picture Gallery, 1987, p.13; C. Yanni, Nature's museums: Victorian science and the architecture of display, 1999, fig.2.15.
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.
Browse (via the vertical menu to the left) and search results for Drawings include a mixture of Concise catalogue records – drawn from an outline list of the collection – and fuller records where drawings have been catalogued in more detail (an ongoing process).