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  • image SM D2/10/8

Reference number

SM D2/10/8

Purpose

Wilderness Park (now Dorton House), near Sevenoaks, Kent, c.1811

Aspect

[1] (Design A) Plan of the One Pair of Stairs Floor / of Wilderness, the Seat of / Earl Camden and front elevation of house and offices

Scale

1/7 in to 1ft

Inscribed

as above, NB The additions & alterations / are coloured Red / The old Walls are distinguished / by a tint of Indian ink and rooms labelled including Bed chamber (three times), Dressing room (three times), Best / Stairs, Back Stairs

Signed and dated

  • c.1811

Medium and dimensions

Pen, sepia and light red washes, pencil, pricked for transfer on laid paper (665 x 980)

Hand

Dance

Watermark

J Whatman

Notes

The existing house (washed in sepia while the office and bedroom wings are in light red) has a six-part villa plan, 78 feet wide by 64 feet deep, seven-bays wide with the middle three bays recessed by nearly 5 feet. The offices are arranged around the three sides of an Office Court, 96 feet wide and, on the side next to the house, are family bedrooms, a dressing room and water closet, and on the other two sides are bedrooms for Men Servants and Women Servants - well separated. The front (west) elevation shows the proposed additional second floor to the house distinguished by a sepia wash. The office wing is shown with the upper of two floors similarly distinguished giving the impression that the ground floor exists already. On plan and elevation it is shown as seven-bays wide with a two-bay link wing.

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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