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IIIF Actions
Sir John Soane, 1753–1837
Hinton St. George, Somerset: View of the Saloon
Former Title(s):
View of the Saloon, Hinton St. George, Somerset
Materials & Techniques:
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: "Lincolns Inn Fields, Jan: 16th: 1797"; in pen and black ink, lower center: "A View of the Saloon"; in pen and black ink, lower left: "Earl Poulett"

Credit Line:
Yale Center for British Art, Paul Mellon Collection
Copyright Status:
Public Domain
Accession Number:
Drawing & Watercolors-Architectural
Prints and Drawings
Subject Terms:
architectural subject | domes | doors | festoons | fireplaces | paintings | windows
Associated Places:
England | Greater London | Holborn | London | The Honourable Society of Lincoln's Inn | United Kingdom
Accessible by appointment in the Study Room [Request]
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IIIF Manifest:

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

The Line of Beauty : British Drawings and Watercolors of the Eighteenth Century (Yale Center for British Art, 2001-05-19 - 2001-08-05) [YCBA Objects in the Exhibition] [Exhibition Description]

British Architectural Drawings (Yale Center for British Art) (Yale Center for British Art, 1982-04-21 - 1982-05-30) [YCBA Objects in the Exhibition]

Sir John Soane, The works of Sir John Soane, Sir John Soane's Museum, London, 1924, p. XXXV, NJ18 .So2 A12 1924 + Oversize (YCBA) [YCBA]

Dorothy Stroud, The architecture of Sir John Soane, Studio Editions, London, 1961, p. 160, NJ19 .So2 S75 + Oversize (YCBA) [YCBA]

Scott Wilcox, Line of beauty : British drawings and watercolors of the eighteenth century, , Yale Center for British Art, New Haven, CT, 2001, p. 148, no. 126, NC228 W53 2001 (YCBA) [YCBA]

Eric R. Wolterstorff, British architectural drawings, Yale Center for British Art, New Haven, Conn., 1982, pp. 22-3, no. 33, V 0251 (YCBA) [YCBA]

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