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Reference number

SM 89/3/72

Purpose

Design for a porte-cochere, 3 October 1822

Aspect

Elevation of the Side, Section on the line AB, Elevation of the Front and Section on the line CD

Scale

bar scale of 1/3 inch to 1 foot

Inscribed

as above, labelled: The dimensions of the Cornice / and Battlements to be taken / from the present high Building, eql (3 times), E (twice), (E. E. See Cast full size at L.I.F.), F (twice), The same Ornament / as at F, A, C, D and dimensions and (pencil) calculations given

Signed and dated

  • 3 October 1822
    October 3d 1822

Medium and dimensions

Pen, pencil, sepia and pink washes on wove paper with four fold marks (681 x 580), two large tears

Hand

Soane Office

Notes

The porte-cochère was not added to the design until September 1822, after work on site had commenced, at the command of the King. He later demanded that it be 'more enriched' (King's Works, VI, p. 521). C. Hiort, Soane's assistant, was sent out to measure the State Carriage on 11 September (see SM 37/2/14) and other designs that do not survive were made between the 11th and the 15th.

The porte-cochère is in the same Gothic style as the arcaded part of the Royal Entrance and has the same ornamentation ('as at F') as well as motifs copied from full-sized casts (lettered 'E'), presumably belonging to Soane at Lincoln's Inn Fields, although unidentified. The dimensions of the cornice and battlements are taken from 'the present high building' - whether this was the part of the entrance already executed or part of Wyatt's existing building is unclear.

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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