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  • image SM volume 39/87v-88r

Reference number

SM volume 39/87v-88r

Purpose

[4b] Preliminary designs (from volume 39, Italian sketchbook) for a dining room on a semi-elliptical plan after the supposed 'triclinium' of Lucullus, together with a design for remodelling the south front, 1779

Aspect

87v. Rough perspective of the pavilion end shown on (87r); rough rectangular plan divided lengthwise by a ? drain, each half 13.9 feet wide and attached to a small building 12.6 x 12.2.
88r. Rough variant plan for dining room on a half-ellipse: To preserve the Views - a Circular Portico at / each end in lieu of the Bows, with gilded / Ironwork between the Columns.

Scale

1/20in to 1ft (86v) bar scale of 1/2in to 10ft (87r)

Inscribed

as above and (87v) Lucullus and calculations as above and (88r) Lettere Familiare del Annibal / Caro - divisa in tre volumni / Padova, presso Giuseppe Comino. Not in Soane's library but a there is a copy in the British Library (Annibale Caro, Delle lettere familiari del commenatore A. Caro volume primo (- terzo) ... Edizione seconda etc 1734 (93.d.21-23)

Signed and dated

  • 1779
    Some of the other sketchbook leaves (volume 39) are dated 4 January to 24 March 1779

Medium and dimensions

Pencil on laid paper, 2ff of a sketchbook (volume 39, q.v.)

Hand

SOANE, Sir John (1754--1837), architect
Soane

Literature

P. du Prey, John Soane's architectural education 1753-80, 1977, pp.153-7; P. du Prey, 'Je n'oublieray jamais: John Soane and Downhill', Quarterly Bulletin of the Irish Georgian Society, XXI Nos 3 &4, 1978, pp.23-4; P. du Prey, John Soane: the making of an architect, 1982, pp.114-8

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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