Ashburnham Place, Sussex, 1813-14

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George Dance office drawings: the drawings of George Dance the Elder and George Dance the Younger
- Country Houses (31)
  - Ashburnham Place, Sussex, 1813-14 (193). Survey drawings, alternative designs, designs and working drawings for alterations and additions, including the modelling of the principal front, a new staircase and for a garden bridge, for 3rd Earl Ashburnham

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Reference number

SM D2/1/10

Purpose

Ashburnham Place, Sussex, 1813-14

Aspect

[14] (Design E) Plan of part porte-cochere and of E wall, elevations of E (principal) front and of side of porte-cochere, and perspective from NE of porte-cochere

Scale

1/8 in to 1 ft

Signed and dated

1813-14

Medium and dimensions

Pen, sepia, raw umber, blue and pink washes, shaded, pencil, within single and double ruled borders, partly pricked for transfer on wove paper (320 x 965)

Hand

Dance

Notes

The porte-cochere is close to Design D except that the Venetian crenellation has been replaced by a plinth for a larger coat of arms. However, Dance now shows each of the end three bays framed by polygonal turrets with gabled pinnacles that are similar to those of Design D. Sketched in are six slender turrets or pilasters against the five-bay centre behind which rises a dome, three-bays wide, that R. Head (The Indian Style, 1986, pp.36-7) describes as 'Indian' and Banmali Tandan (conversation 17 April 2000) considered 'Bengali' and mosque-like because of the way the dome emerges from a long, low, horizontal building. Compared with Design D, the parapet is higher and rough pencil indications of square hood-moulds are shown. Dance has pencilled in the pediment over the centre seen in Design D and the perspective shows this pediment fully drawn and washed.

REPRODUCED. R. Head, The Indian Style, 1986, fig.10.

Level

Drawing

Digitisation of the Drawings Collection has been made possible through the generosity of the Leon Levy Foundation

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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.

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