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  • image SM 48/2/1
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Reference number

SM 48/2/1

Purpose

[34] Variant design (F) for the front elevation with a five-bay attic storey, and first design for the side elevation to Meeting House Court, 18 November 1817

Aspect

Perspective

Inscribed

No 1

Signed and dated

  • November 18th 1817

Medium and dimensions

Pen, sepia, burnt umber, brown madder and light blue washes, shaded, partly pricked for transfer with single ruled and sepia wash border on wove paper (608 x 812)

Hand

Henry Parke (1790-1835, pupil 1814-1820) from Day Book

Watermark

J Whatman 1816

Notes

The designs for the front elevation scarcely vary; SM 48/2/18 has banded rustication on three floors, this drawing and SM 48/2/30 has it on the ground floor only. The overall design is perhaps more reticent than designs A to E. The right-hand, two-storey projecting porch has gone and the corner is finished with banded rustication (SM 48/2/18), panel pilasters (SM 48/2/30) and rounded (this drawing). The top two floors have the outer bays 1 and 5 projecting, panel pilasters are in two tiers, the roofline is ornamented by a balustraded parapet over the three centre bays.

SM 48/2/17 is a reduced copy of SM 48/2/26 (or vice versa). The design for the side elevation relates strongly to that for the front. The proportion of height to width is close and if the ground floor is excluded, the windows and panel pilasters are the same throughout, though the centre three bays of the attic and second floors are not recessed. This design for the Meeting House Court front is the earliest (surviving) design except for glimpses in perspectives (SM 48/2/4, SM 48/2/6 and SM 48/2/26).

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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