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- 1803-07
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Dance allowed two access points. From the drawing room he designed a bridge, 12 feet wide with a semicircular arch 14 feet wide and with 9 steps to the garden. And from the Hall of Communication, there was a dog-leg stair with 22 steps that fitted into the northwest angle of the new east wing. To make his plan symmetrical, Dance placed a circular pond in the centre on axis with a flight of ten steps, 16 feet wide, and ran a series of rocks in three gentle curves from the west wing and framing the end of the bridge on the east wing. The rock-work screen (on which vegetation is indicated) was an unusual idea. On the section (left-hand side of drawing) Dance has drawn a fish swimming in a pond that has a robust, reverse-arched brick base to make cleaning easier.
A Country Life article on the garden (XXXV, 1914, pp.839-31) commented that on the north side of the house was a dry sandstone retaining wall some 7 or 8 feet high with a good batter and some interstices for climbing plants. At its west end was a 'curious little nook, the north and west banks of which are retained with enormous pudding stones. Apparently nothing is known of the history of these but some of them must weigh several tons.'
Mr D. J. Stride, the owner of the new house of Stratton Park, wrote (22 August 2000) that 'there are large boulders, at least one of which was, until recently, in a "compatible" position, and there certainly has been a sunken area where one would expect to find some sort of garden to view through the windows of the grand rooms that overlook it.'
See [SM D1/2/10] for a design for the bridge with, for example, fewer steps.
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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).