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  • image SM D1/1/10

Reference number

SM D1/1/10

Purpose

Stratton Park, Hampshire, 1803-07

Aspect

[9] Plan of the Principal Floor of Stratton, / the Seat of Sir Francis Baring Bart / with the proposed Alterations & Additions, sections of stair and staircase hall and rough (pencil) elevation of single-storey front with arch

Scale

1/7 in to 1 ft

Inscribed

as above, some rooms labelled including (E wing) Breakfast room, Hall of / Communications, Library, Anti-room, Drawing-room, dimensions given and (verso, Dance) Plan of Stratton

Signed and dated

  • 1803-07

Medium and dimensions

Black and brown pen, sepia, pink, raw umber and Indian red washes, pencil, pricked for transfer on wove paper (520 x 890)

Hand

neat printed office hand (same as [SM D1/1/11], [SM D1/1/7] and [SM D1/4/50], Dance

Notes

As Sir Francis Baring directed (on [SM D1/5/4] verso), the new east wing (of the same length and width as the existing west wing) has two reception rooms separated by an anteroom. The new rooms next to the east wing are here a breakfast room, a 'Hall of Communication' and a secondary stair on a semicircular plan. The staircase hall is placed in three of the southeast bays of the old house and fronted by a portico. A portico is shown on the east elevation for the first (and last) time. The Serlian windows of the pavilion ends of the front have an alternative four-part design in dotted outline. There are small adjustments to the west wing including a pencilled minor stair. The drawing is neatly drawn and lettered by an office hand with Dance adding the sections, dimensions and pencil amendments.

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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