Finished design showing plan at first-floor level

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English Baroque Drawings: architecture, sculpture and garden design
- Designs for other buildings, gardens and interiors
  - St James's Palace and Park, London
    - Undocumented proposal for rebuilding St James's Palace, possibly associated with William Benson's Surveyorship, 1718-19

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Reference number

SM drawer 62/1/8

Purpose

Finished design showing plan at first-floor level

Aspect

3 Plan

Scale

10 feet to ^7_/₁₆ inch approx.

Inscribed

In pen and brown ink on the left side of the plan and sheet, with many dimensions and calculations; and in pencil by C18-19 hand below plan, Plan of a Design for a Palace at S.^t James's. N.^o 3

Signed and dated

c.1715-20

Medium and dimensions

Pen and grey ink over pencil under drawing, with sketched alterations in pencil, on single large sheet with central fold and C19 wove paper patch repairs on verso; 545 x 760, with large tear in top left-hand corner

Hand

Unidentified

Watermark

Strasbourg Lily / LVG = IHS IVILLEDARY

Notes

The plan corresponds to the ground-floor plan, 2, in every respect. On the elevation to the park the Venetian windows in the intermediate pavilions are repeated at first-floor level and little variety appears to be offered in the central pavilion. This has an applied portico with four giant pilasters, each 4 feet wide (and so presumably 40 feet high), and single recessed bays each side. Like the ground-floor plan, this scheme ignores Inigo Jones's Queen's Chapel, and proposes a new chapel on the eastern side of the east wing on the main cross axis.

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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