Hinton St. George, Somerset: View of the Saloon
- Former Title(s):
View of the Saloon, Hinton St. George, Somerset
- Graphite, pen and black and brown ink and watercolor on moderately thick, moderately textured, cream laid paper
- Sheet: 9 1/4 x 14 15/16 inches (23.5 x 37.9 cm)
Inscribed in pen and brown ink, lower right: "Lincoln Inn Fields, Jan: 16: 1797"; in pen and black ink, lower center: "A View of the Saloon"; in pen and black ink, lower left: "Earl Povlett"
- Credit Line:
- Yale Center for British Art, Paul Mellon Collection
- Copyright Status:
- Public Domain
- Accession Number:
- Drawing & Watercolors-Architectural
- Prints and Drawings
- Subject Terms:
- domes | doors | festoons | fireplaces | paintings | windows
- Associated Places:
- England | Greater London | Holborn | London | The Honourable Society of Lincoln's Inn | United Kingdom
- Accessible by request in the Study Room [Request]
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Sir John Soane, 1753–1837, British, Hinton St. George, Somerset: View of the Saloon, 1797
Like architects of the previous generation such as Sir William Chambers (cat.s116-17) and Robert Adam (cats. 120-1), Soane trained in Italy. While there, he studied ancient and Renaissance architecture and met both the influential Piranesi and potential aristocratic patrons. During his Sojourn, he developed his own highly individual interpretation of neoclassical forms and motifs that remained the hallmark of a style that attracted no real imitators or followers. The impact of Roman monuments such as the Pantheon is evident in Soane's design for the Saloon or Salon of Hinton St. George for the 4th Early of Pouloett. Low arches support a shallow dome, while light enters through clerestory windows in the lantern. The low vaulted space became a hallmark of Soane's style from his work as Surveyor to the Bank of England. Begun in 1788, where he remodeled the structure over a period d of thirty years. In contrast to Adam (cat. 121) Soane is spare in his décor and sketches in his treatment if individual elements, such as the framed painted decoration. Draftsmanship was an important part of Soane's architectural practice. Unlike Adam, who demonstrated his designs in two-dimensions, Soane presented the client with a perspective view. In an 1809 lecture in his capacity as Professor of Architecture at the Royal Academy, he stressed that "the real effect of a composition in perspective presentation." Morna O'Neill Wilcox, Forrester, O'Neil, Sloan. The Line of Beauty: British Drawings and Watercolors of the Eighteenth Century. Yale Center for British Art, New Haven, 2001. pg. 148 cat. no. 126
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