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  • image SM D1/1/22

Reference number

SM D1/1/22

Purpose

Stratton Park, Hampshire, 1803-07

Aspect

[180] General Plan of Stratton at ground floor level and the outline of Offices as executed

Scale

1/10 in to 1 ft

Inscribed

as above (verso, pencil, Carter), labelled including Line of Fence and Plantation, (pencil, Carter) Line of Fence & Plantation and some dimensions given

Signed and dated

  • 1803-07

Medium and dimensions

Pen, crimson, sepia, blue and yellow ochre washes, pencil within ruled border (cut), pricked for transfer on wove paper (750 x 1125)

Hand

Dance, Carter

Watermark

Joseph Ruse Tovill Mill Maidstone 1803

Notes

Dance uses pink, blue and sepia washes to outline his (unfinished) plan for the offices; he often used two or more washes to indicate revisions or alternatives and this method has to be distinguished from the conventions for showing extant and proposed work. However, Dance is inconsistent with those conventions using, for example, the usual grey/sepia for old work and pink/crimson for new on [SM D1/1/14] but reversing this on [SM D1/1/22] and [SM D1/1/17].

The ground floor plan of the house (corresponding to [SM D1/1/17]) seems to be as executed though, for instance, Dance roughs in an alternative stair arrangement for the Hall of Entrance that was not carried out. Here, the wash-house and laundry and the brewhouse correspond to drawing [SM D1/1/14] and were presumably built. The kitchen block is not fully drawn out. The stables are close to [SM D1/1/14] though the layout of the northern end has been amended.

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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