Drawings 277 to 279 were watercolours later printed as lithographs both in Memoirs and in Plans, elevations and perspective views. Drawing 280 as the proof copy of Memoirs shows the drawings as they were to be laid out in the printed version.

Soane's description of the theoretical reconstruction of the ruins in Plans, elevations and perspective views follows a gradual (imaginary) process eventually halted by the existing buildings. Plate XII, which consists of lithographs of drawing 280, is referred to as follows: 'By dint of perseverance and a warm imagination, assisted by the ancient remains, the entire edifice was restored in some degree to its ancient magnificence'.

The drawings for the (theoretical) reconstruction by Soane of the fake ruins built by him in about 1804, shows that the plan was broadly that of a basilica. The triumphal arch entrance with quadrant wings each enclosing a stair gives on to a courtyard facing the temple.

Much statuary is included (the 'remains' of which presumably found their way into Soane's cast room). The triumphal arch can be seen as part of a system of repetitive motifs, used by Soane throughout Pitzhanger, from the gated entrance to the house facade. The addition of the same to a 'classical ruin' could be attributed to Soane's desire to reference an Antique source.

B. De Divitiis, 'Plans, Elevations and Perspective Views of Pitzhanger Manor-House', pp.55-74, Architectural History, volume 48, 2005, p.61; ed. C. Woodward, Visions of ruin: architectural fantasies and designs for garden follies, exhibition catalogue, Sir John Soane's Museum 1999, p.30

Group

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

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