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  • image SM D2/1/16

Reference number

SM D2/1/16

Purpose

Ashburnham Place, Sussex, 1813-14

Aspect

[16] (Design H) Elevation of E (principal) front

Scale

¼ in to 1 ft

Inscribed

Ashburnham Place (in pencil) and dimensions given including Whole Extent 178Ft..7½in

Signed and dated

  • 1813-14

Medium and dimensions

Pen, sepia, raw umber and green earth washes, shaded, pencil, within triple ruled and wash border (top and bottom) on laid paper, two sheets joined (610 x 1195)

Hand

Dance

Watermark

D & C Blauw IV and D&CBxX in cartouche surmounted by fleur-de-lis

Notes

The drawing is unfinished (with, for example, most of the labels and balconies not drawn in) and has many erasures. The rhythm of turrets with bays (now T3 T2 T1 T3 T1 T2 T3 T) is that of subsequent (including the executed) designs. An arched corbel-table frieze with half-paterae appears for the first time and is maintained. The turret terminations use the motif of an arched corbel-table with half-paterae, here under quatrefoil-pierced 'walls' to make miniature polygonal castles that support the Ashburnham crest; similar terminations are used in [SM D2/1/14] and [SM D2/1/17].

The three variant designs deal differently with the raised parapet on the centre five bays and with details of the porte-cochere. Here the raised parapet is ornamented with festoons and the porte-cochere has a frieze of quatrefoil ornaments and (as with [SM D2/1/14] crocketed, conical pinnacles to the buttresses.

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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