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  • image SM D1/11/23

Reference number

SM D1/11/23

Purpose

Coleorton, Leicestershire, 1802-08

Aspect

[53] Elevation of two-storey, three-bay S front

Scale

¼ in to 1 ft

Inscribed

dimensions given and (verso, Dance) Elevation / South Front

Signed and dated

  • 1802-08

Medium and dimensions

Pen, sepia, green earth and pink washes, pencil on laid paper (350 x 530)

Hand

Dance

Watermark

D & C Blauw IV

Notes

Three-light square-headed windows are drawn in over triple semi-circular-and segmental-headed windows. The labels are made deeper and more emphatic and seem almost like chujja (awnings or eaves in Indian architecture). Dance also experiments with the turret finials which include two in the form of miniature castle keeps as well as two in the Indian style of Ashburnham Place and the London gate at Stratton Park. For a discussion of the Indian elements of Dance's architecture see the note on the Guildhall, London.

Watkin ('Soane and his contemporaries' in John Soane, [no.ed.], 1983, p.56) discusses the abstract reductionist element in Soane's style and links it with Dance's architecture, in particular this drawing with its 'grid-like composition in which the wall has been entirely dissolved. As a daring example of what Dance proposed as "Architecture unshackled", it can be compared with Schinkel's project of 1827 for a bazaar in Unter den Linden, Berlin.'

Dance's south elevation for Coleorton can also be associated with his even more grid-like, unexecuted elevations for 6 St James's Square, Westminster. See also [SM D1/11/20].

REPRODUCED. Stroud fig.60a; D. Watkin, 'Soane and his contemporaries' in John Soane, [no ed.], 1983, fig.34.

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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