Study for one bay of the choir aisle screen, in half-elevation

WRE/4/1/15

c.1693

Sir Christopher (1632–1723) Wren, Nicholas (c.1662–1736) Hawksmoor

Pen and dark brown ink over pencil under-drawing with amendments in pencil. Thick smooth laid paper, stained brown with tears and losses (repaired) along left side. 38.2 x 52.8 cm. Watermark: Strasbourg lily WR

{\rtf1\ansi\ansicpg1252\deff0\deflang2057{\fonttbl{\f0\fswiss\fprq2\fcharset0 Microsoft Sans Serif;}{\f1\fswiss\fprq2\fcharset0 System;}} {\colortbl ;\red0\green0\blue128;} \viewkind4\uc1\pard\cf1\f0\fs20 A variant design for the choir aisle screen, developed from WRE/4/1/14, and closer to the final scheme. Drawn by Hawksmoor. Datable c.1693. Implied scale, just under 2 ft to 1 inch.\par \par In this half-elevation Hawksmoor revises the previous design by replacing Gibbons\rquote s sculpted overdoor with the oval window in an elaborate scrolled cartouche, developed from the one he sketched in pencil on that drawing. He aligns the border of this window with the curved breaks in the door cornice and frieze to give movement and interest to the side bays of the screen. The paired columns are set on higher pedestals dressed with cornices and panelled dados, and they align with the upper plinths of the arcade pilasters. \par \par Sketched in pencil is an idea for a curved break in the walling between the doors, possibly for a narrow spiral staircase up to the middle stall and gallery levels. An early study for the choir aisle screen at All Souls has a similar curved bay (Geraghty 2007, no.94). Breaks are added to the parapet of the screen where balusters are sketched for the first time. At the next stage, WRE/4/1/16, the curved projection was abandoned and the pedestals were revised back to low plinths. \cf0\b\f1\par }

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