[12/30] Record drawing of completed design for the north elevation of the south range of King William's Court, including a blank section through the link block between the south range and the central block on the west side, and omitting the colonnade on the east side.

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English Baroque Drawings: architecture, sculpture and garden design
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  - Revised final scheme under Thomas Ripley, 1729-58

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Reference number

SM volume 109/37

Purpose

[12/30] Record drawing of completed design for the north elevation of the south range of King William's Court, including a blank section through the link block between the south range and the central block on the west side, and omitting the colonnade on the east side.

Aspect

Elevation, with blank section through link block on west side.

Scale

10 feet to just under ^17/₂₀inch

Inscribed

In brown ink in unidentified hand beneath scale bar, South Front in King Williams Court; and with numbered scale bar; and in C19 hand at top right, 37.

Signed and dated

Undated, but datable 1735

Medium and dimensions

Pen and grey ink over graphite under-drawing, with grey wash; on laid paper, laid down; 345 x 487

Hand

Unidentified hand in office of Thomas Ripley

Watermark

Strasbourg Lily / 4

Notes

The drawing is in the same hand as [12/25, 26 and 31]. The central door is not shown in Campbell's perspective published in 1725, nor is it on the model of c.1699. However, it appears on Hawksmoor's plan of 1728 and may therefore be a later amendment to the design on which work began in 1699 (see Bold 2000, figs 156, 142 and 144).

Literature

Axel Klausmeier, Thomas Ripley, Architekt: Fallstudie einer Karriere im Royal Office of the King's Works im Zeitalter des Neopalladianismus, Frankfurt am Main, 2000, pp. 113-24

Level

Drawing

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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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