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Stratton Park, Hampshire, 1803-07
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Reference number
SM D1/3/36
Purpose
Stratton Park, Hampshire, 1803-07
Aspect
[60] Cornice Frieze & / Triglyph / full size / Doric Entablature of Portico / Stratton
Scale
full size
Inscribed
(pencil) No1 (six times), dimensions given, (verso, Dance) Portico Stratton, Cornice Frieze &c / Triglyphs / full size / Doric Entablature of Portico / Stratton
Signed and dated
- 1803-1807
Medium and dimensions
Black and red pen, pink wash, pencil on laid paper, two sheets joined with strip added (655 x 1510)
Hand
Dance
Watermark
D & C Blauw IV (twice) and D&CBxX in cartouche surmounted by fleur-de-lis (twice)
Notes
Verso
In careful italicised Roman capitals LONDON
Faint pencil
NOTE TO [SM D1/3/31], [SM D1/3/30], [SM D1/3/33], [SM D1/3/32], [SM D1/3/34], [SM D1/4/59], [SM D1/3/35]. [SM D1/4/63], [SM D1/3/36]
The portico has two pairs of plain, that is, unfluted, baseless Doric columns with diameters of 3 feet 6 inches rising to 2 feet 10 inches, spaced 10 feet 8 inches centre to centre on stepped plinths 16 feet 2 inches wide. The height of the columns is 20 feet 7 inches, less than six diameters. Kalman points out (p.159) that Dance commits an anachronism by centering the end of triglyphs over the corner columns instead of placing them at the ends as the Greeks did. However, his insertion of two triglyphs over each intercolumniation does follow Greek precedent.
Though Dance seems to have had Paestum in mind when he designed the portico, the catalogue of his library, sold after his death, incudes neither Thomas Major's The Ruins of Paestum (1768) nor C.-M. Delagardette's Les Ruines de Paestum ou Posidonia (1798); Soane's library had two copies of Major's book as well as the original drawings. Comparison with the earlier publication shows that Dance did not closely follow the information given there and Kalman (p.159) considers that his proportions and details 'resemble those of Nicholas Revett's porticoes at Standlynch (Trafalgar) House, Wiltshire (1766) and Ayot St Lawrence Church, Hertfordshire (1778). Revett's columns are fluted only at the extremities, closely following the Doric order of the Temple of Apollo at Delos which he had measured' and published in J. Stuart and N. Revett, Antiquities of Athens, III, 1794, chapter X. Dance had all four volumes of Antiquities (1762-1816) and probably derived the order for the Stratton portico from plate II, chapter I, volume I (see note to [SM D1/3/35].
The Greek Doric portico at Stratton was a fairly early example in Britain though, as Kalman (p.159) points out. 'Dance's combination of unfluted baseless Doric columns with doubled triglyphs was preceded by Soane's semicircular portico at Sydney Lodge', Hamble, Hampshire, 1793-5.
In careful italicised Roman capitals LONDON
Faint pencil
NOTE TO [SM D1/3/31], [SM D1/3/30], [SM D1/3/33], [SM D1/3/32], [SM D1/3/34], [SM D1/4/59], [SM D1/3/35]. [SM D1/4/63], [SM D1/3/36]
The portico has two pairs of plain, that is, unfluted, baseless Doric columns with diameters of 3 feet 6 inches rising to 2 feet 10 inches, spaced 10 feet 8 inches centre to centre on stepped plinths 16 feet 2 inches wide. The height of the columns is 20 feet 7 inches, less than six diameters. Kalman points out (p.159) that Dance commits an anachronism by centering the end of triglyphs over the corner columns instead of placing them at the ends as the Greeks did. However, his insertion of two triglyphs over each intercolumniation does follow Greek precedent.
Though Dance seems to have had Paestum in mind when he designed the portico, the catalogue of his library, sold after his death, incudes neither Thomas Major's The Ruins of Paestum (1768) nor C.-M. Delagardette's Les Ruines de Paestum ou Posidonia (1798); Soane's library had two copies of Major's book as well as the original drawings. Comparison with the earlier publication shows that Dance did not closely follow the information given there and Kalman (p.159) considers that his proportions and details 'resemble those of Nicholas Revett's porticoes at Standlynch (Trafalgar) House, Wiltshire (1766) and Ayot St Lawrence Church, Hertfordshire (1778). Revett's columns are fluted only at the extremities, closely following the Doric order of the Temple of Apollo at Delos which he had measured' and published in J. Stuart and N. Revett, Antiquities of Athens, III, 1794, chapter X. Dance had all four volumes of Antiquities (1762-1816) and probably derived the order for the Stratton portico from plate II, chapter I, volume I (see note to [SM D1/3/35].
The Greek Doric portico at Stratton was a fairly early example in Britain though, as Kalman (p.159) points out. 'Dance's combination of unfluted baseless Doric columns with doubled triglyphs was preceded by Soane's semicircular portico at Sydney Lodge', Hamble, Hampshire, 1793-5.
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