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Reference number

SM volume 66/89


[16] Design for side elevation


Elevation of the End Front (No image available)


to a scale of 1/7 inch to 1 foot


as above and Earl Poulett

Signed and dated

  • Lincolns Inn Fields May 1797

Medium and dimensions

Pen and black, raw umber, blue and green washes, shaded with quadruple-ruled and black and Naples yellow washed border on laid paper(495 x 702) bound into volume 66/89


Thomas Jeans (c.1775-1866), pupil August 1792-25 August 1797. The inscriptions are in his hand, however the Soane office Day Book for May 1797 records drawings for Hinton St George being made by 'Jeans / Seward / Good'. That is: Henry Hake Seward (1777-1848), pupil and assistant May 1794 - September 1808; Henry Joseph Good (1775-1857), pupil January 1795-January 1799. Seven drawings (six on Imperial-sized sheets and one on double Elephant) were taken to Lord Poulett's house in Stratford Place, London on 26 May 1797.


The elevation of the west wall relates to plans [11], [12] and [14] and its principal element is the Loggia in antis which replaces the octagon with its Beer cellar, Hall and Chamber. The same Composite order of the Loggia is found on the alternative front elevations [13] and [15]. Either side of the Loggia (which gave on to the Saloon) are pairs of windows (some of them blank) to the basement, ground floor amd first floor. Above the Loggia is a continuous pedestal ornamented with antefixa, acroteria, festoons and fluted or incised dwarf pilasters. To the left of the proposed new work is the crenellated wall of the Library (see plan [11]). The 'cobbling' that that is shown between the dressed stone is actually stone cut and modelled so as to resemble cobble stones. That treatment appears on earlier parts of the building.



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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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