Working drawings for an entablature based on the order of the Temple of Jupiter Stator (Castor and Pollux) at Rome, September 1824 (2)

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Sir John Soane office drawings: the drawings of Sir John Soane and the office of Sir John Soane
- Office of Works
  - London: Board of Trade and Privy Council Offices, Whitehall & Downing Street: designs for new offices and scheme for the improvement of Downing Street, 1823-33 (284)
    - Designs and working drawings for the new Board of Trade and Privy Council Offices, December 1823-October 1824 (106)

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Reference number

SM (109) 49/1/2 (110) 49/1/1

Purpose

Working drawings for an entablature based on the order of the Temple of Jupiter Stator (Castor and Pollux) at Rome, September 1824 (2)

Aspect

109 Part of the Cornice 110 Part of the Cornice

Scale

(109, 110) (Full Size)

Inscribed

109 as above, Board of Trade, labelled: AA 110 as above, Board of Trade and Council Offices, labelled: AA, 5 5/8, Joint (twice), This W- (illegible)

Signed and dated

(109) Lincolns Inn Fields / 14^th Sep^r 1824 (110) Lincolns Inn Fields / 14 September 1824

Medium and dimensions

(109) Pen, pricked for transfer on wove paper with one fold mark (540 x 750) (110) pen and pink wash, pricked for transfer on two sheets of wove paper, affixed, with one fold mark (623 x 995) with cover sheet for folder affixed

Hand

(109, 110) Stephen Burchell (1806-?, pupil 1823-28)

Watermark

(109, 110) Smith & Allnutt 1820

Notes

Drawings 109 and 110 show the lower and upper parts of the entablature respectively. Based on the elaborately decorated order from the Temple of Castor and Pollux, the motifs include acanthus leaves, pine cones, lions' heads, bead and reel, egg and dart and waterleaf mouldings.

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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