[12/11] Study for the elevation and section of the east internal wall of the Chapel at basement and principal floor levels and for the plan of the west internal wall at both levels, c.1735.

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

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Reference number

SM Drawer 47/7/3

Purpose

[12/11] Study for the elevation and section of the east internal wall of the Chapel at basement and principal floor levels and for the plan of the west internal wall at both levels, c.1735.

Aspect

Combined part-plan, section and internal elevation

Scale

7½ ft to 1 inch

Inscribed

In pencil in an unknown hand: (1) in reverse at top right corner of sheet, top of Architrave / 6 inches Gallery floor; and within penicl plan at top centre, 5 steps; and above and below study of impos at top right, Imposts / down to top of steps

Signed and dated

c.1735

Medium and dimensions

Laid paper; 455 x 291.

Hand

Unidentified hand in office of Thomas Ripley

Watermark

Countermark: IV

Notes

This study for the internal the end walls of the Chapel is related to [12/10] and annotated in the same hand. The main ink drawing shows the relationship between the wall masses at main-floor level and basement level. The elevation of the east wall in the upper half of the sheet shows the columns and arched frame of the chancel wall in their built positions. Above is a pencilled plan of the chancel recess approached by five steps, although only three were built. To the left of this plan is a study for the impost of the arch. The part-plan at the bottom of the sheet shows the internal west wall, with paired columns framing the entrance at right-angles to the wall, as in the plan [12/10], but without the three steps between the columns on that drawing.

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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