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  • image Image 1 for SM D2/8/10
  • image Image 2 for SM D2/8/10
  • image Image 1 for SM D2/8/10
  • image Image 2 for SM D2/8/10

Reference number

SM D2/8/10

Purpose

Paul, Cornwall, 1797

Aspect

[21] Side elevation with porte-cochere, with details of amendment to foundations

Scale

Scale / ¼ inch to a Foot

Inscribed

(Dance) as above, labelled This break to be added to the original Plan and dimensions given

Signed and dated

  • 1797

Medium and dimensions

Pen on laid paper (280 x 495)

Hand

builder, Dance

Watermark

I Taylor

Notes

The side front is of five bays with slightly projecting pedimented end bays with semicircular-headed windows. The centre has flat-headed casements on the ground, mezzanine and upper floors and porte-cochere with coupled Doric columns. The design relates to the elevations shown in [SM D3/14/9] verso, [SM D3/14/8] and [SM D3/14/21] and is closest to the first of these.

Verso
Outline plan of house with detail of foundation amendment
Inscribed: (Dance) To prepare the foundations to receive the / four breaks colour'd red in addition to / the original Plan as will appear on / the other side of the elevation and (builder) The Lines across this Plan shews / the manner the Tin Drifts cross our / foundation the whole of them / underlays towards the principal / Front in some places 1ft in 3ft but we / have not the least Doubt of making / them perfectly secure Three 'drifts' or tin-mining tunnels are shown running diagonally across the plan and Dance has adjusted the design of the foundations, adding a 'break' at each end of the side fronts.

Level

Drawing

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

If you have any further information about this object, please contact us: drawings@soane.org.uk

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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