Top Tweets for #johnsoane
A Londra, al John Soane’s Museum: la casa-museo di sir John Soane (1753-1837), architetto e grande collezionista d’arte e di antichità . Progetto lui stesso la casa e la allestì come un museo. Poi la donò allo Stato. Un vero gioiello
Two major features of the architecture of Sir #JohnSoane is the use of natural light and reflective surfaces. Soane designed his buildings to allow in as much natural light as possible. Once inside this light is bounced around the interiors via glass surfaces which reflect and refract light. This is further enhanced by the use of convex (outward curving) glass.
In his Breakfast Room at his house at Number 13 Lincoln’s Inn Fields, Holborn, for example, Soane had placed over a hundred pieces of mirror, and at either end of this room he employed yellow tinted glass in the ceiling to wash both ends of the room in a lovely yellow hue.
The large window in this room was East facing to allow the morning light into the room from an early hour. In the centre of the room Soane had a lantern, decorated with scenes of religious stained glass. Soane however was not particularly interested in the symbolism of the glass, but rather the effect that they gave when the outside light came into contact with them, projecting some of the colours onto the room walls at certain times of the day and year.
@SoaneMuseum
New law courts next to Westminster Hall, designed by English architect John Soane (1753-1837). Unfortunately, most of his court buildings were demolished in the 1880s during a major reorganization of the British legal system. #JohnSoane
#JMWTurner is often called ‘the painter of light' and his friend the architect Sir #JohnSoane ‘the master of space and light’. One can imagine them fishing together and discussing the qualities of light and the sun which is a such an important component in Turner’s paintings and Soane theatrical interiors.
‘And light is therefore colour’.
‘Lumiere Mystérieuse’
https://t.co/72ijSJZVgH
@SoaneMuseum
Figures and busts in the Dome at Sir John Soane’s Museum contemporaneous with #JohnSoane (and including himself looking a little like a #RomanEmperor!) @SoaneMuseum
#ThomasLawrence #JohnFlaxman #FrancisChantrey
I cannot help but wonder how much some of the architectural drawings and theory of the architecture of Sir #JohnSoane and paintings of #JosephGandy were influenced by French #Enlightenment #architectural theory, including #Jean-Jacques Lequeu and especially #Étienne-LouisBoullée. For example, Boullee’s ability to portray interior illumination without illustrating its source. I think primarily of Boulllee’s Cenotaph to Sir #IsaacNewton which in the day the interior its shrouded in darkness but shards of light are provided by small opening in the the dome (think the Soane lanterns, mirrors and grills allowing light to penetrate to lower levels at his museum in Holborn) and at night a large hanging lamp which illuminates its interior (for example with the sarcophagus of King Seti I illuminated with candles placed inside). @BruceABoucher @SoaneMuseum
Church of St. Mary Abbots, Kensington, London. Chest tomb of Elizabeth Johnstone d.1784 designed by Sir John Soane. Photo: 09.03.2024. #London #ElizabethJohnstone #JohnSoane @Portaspeciosa @InDamnatio
Not that #JohnSoane would have known it, but the subject of the #MasterMason degree in #Freemasonry has strong parallels with the Egyptian ‘Book of Gates’, the subject of the #hieroglyphs carved on the #alabaster #sarcophagus of King Seti I and bought by Soane in 1824 and placed in the crypt of his museum at Lincoln’s Inn Fields.
The ‘Book of Gates’ tells the story of the journey of the Sun from when it sets in the west (death) to its rising in the east (life) each morning. The Sun enters the #Tuat and on each of the 12 hours is challenged by a deity to answer its questions correctly. This the humanised form of the Sun answers correctly as it is reborn each day in the east.
In the Master Mason (Hiramic Degree) the initiate experiences symbolic death (ignorance/ darkness/ west) to be reborn into Masonic enlightenment (east/light).
Soane was initiated into Freemasonry in the year of 1813 and he unusually took all three craft (blue) degrees in one evening.
1813 was an important year in Freemasonry as it saw the creation on the United Grand Lodge of All England from the amalgamation of the ‘Antient’ and ‘Moderns’ Masonic organisations and Soane gave them status and prestige.
Sir #JohnSoane was a great admirer of French Enlightenment architects including #Lequeu, #Boullee and #Ledoux. Often they would use simple geometric forms but on a massive scale making much of the architecture unbuildable. For Lequeu in particular, there were often aspects of routes of initiation to his buildings.
Wonderful trip to @SoaneMuseum ahead of the new @lsaclassics programme 24-25 and first lecture ‘Permanently Magical’ Museum with Helen Dorey the #Inspectress #JohnSoane🏺🏛️ Thurs 19th September 7pm @AKSSchool https://t.co/bFw3kDZvRg
Paper Shadows 🖼️🏺 @SoaneMuseum
Old comp — frame study from Contrasts: The Buildings of England (1968)! I’m mildly obsessed with the idea of drawing him in the museum, Sir John S + Sir John S yes please
#johnsummerson #johnsoane #illustration #architecture #イラスト
The way I see it #JohnSoane was influenced in using arches in his architecture from three sources-
# Triumphal arches of Ancient Rome
# Arches that appear regularly in the art of #GiovanniBattistaPiranesi (1720-78)
# Arches that appear in the frescoes of the Roman #VillaNegroni, the remains of which had been discovered and unearthed in 1777, a year before Soane’s own Grand Tour.
The triumphal arches of ancient Rome are somewhat linked to Piranesi’s arches as he was a great admirer of the city in which he lived. Soane had met Piranesi and owned some of his drawings, including some of those of the Greek Temples at #Paestum in Italy. The arches that appeared in Piranesi’s imaginary prison series (in particular ‘Dark prison with a courtyard for the punishment of criminals... (Carcere oscura con Antenna pel suplizio dè malfatori...), from "Prima Parte di Architettura, e Prospettive") were also of importance in Soane’s architecture.
Did #JohnSoane and #JMWTurner foster #Deist beliefs?In a simplistic nutshell, Deists believed that #God created the world before stepping back and leaving humans to get on with its own affairs. In this regard there was no such thing as #predestination as a person had the free will to choose to be ‘good’ or ‘bad’. The #supernatural did not exist, and #divinerevelation was a fallacy. Although God was not present his ‘footprint’ could be found in the enormity of nature- the massive mountains, the epic sea, the monumental skies and the universe in which we live.
At the same time many Freemasons were Deists as both were compatible as there was no requirement to believe in Jesus Christ, just a belief in a Supreme Being,- a Grand Creator.
I love this scene in Mike Leigh’s ‘Mr Turner’ film where you briefly get a glimpse of the large painting ‘Forum Romanum’ which #JMWTurner painted for his friend, #JohnSoane, for his house in Holborn. However, Soane did not particularly care for the painting and it remained at Turner’s gallery at 47 Queen Anne Street until after his death in 1851.
Soane paid Turner for the painting but Turner never cashed in the cheque. (Turner had hoped that the painting would remind Soane of his time spent in Rome as part of his Grand Tour- he reached Rome on 2 May 1778).
Had Soane displayed the painting at his museum at Lincoln’s Inn Fields it would have required one of the walls to have been taken down to allow access of the painting due to its large size. This was possible however as Soane took down a walls to allow access to the calcite sarcophagus of Seti I and the plaster model of Lord Burlington’s #ApolloBelvedere presented to Soane by architect John White.
Tate display caption July 2020
‘One of the most important locations in Rome is the Forum, an area of ruined temples and monuments. It represents the heart of the ancient city. Over the centuries, the Forum had been allowed to decay but by the 19th century, archaeologists were uncovering its remains. This painting, designed for the architect Sir John Soane, captures the view looking towards the Capitoline Hill. On the left is the Arch of Titus, and on the right, the vaults of the Basilica of Constantine’.
@SoaneMuseum
Join our virtual talk from the extraordinary John Soane Museum 💻
🕙 Date: Monday 11th December at 11:00am
Contact us to join: Email: [email protected] Phone: 01483 456558 SMS: 07780 933 053
#VirtualTalk #Surrey #JohnSoaneMuseum #JohnSoane #Hampshire
Well here I am, finally at the tomb of Sir #JohnSoane in the churchyard of St Pancras Old Church, London. It has taken me nearly 53 years to visit, but I am here! It is a quietly beautiful monument, designed by my to favourite architect. I particularly like the #ouroboros around the finial (#eternity- possibly indicating #Deist beliefs)) and its pendentive roof, punctuated by shallow segmental openings and supported by four vertical pillars.
This outside canopy is influenced by the French architectural theorist #MarcAntoineLaugier, who represented the #PrimitiveHut as a structure with a sloping roof held in place by only four supporting posts. All unnecessary decoration not integral to the structural integrity of the building was discarded, along with outside walls.
No, that’s what I call a kingsize book! #JohnSoane
My latest epic read (when it arrives). ‘Sir John Soane. Enlightenment Thought and the Royal Academy Lectures’. 738 pages. #JohnSoane
I wonder if Sir #JohnSoane’s bequeath of house and collection to the British Public via the 1833 Act of Parliament he obtained was the inspiration for #JMWTurner doing the same with his paintings? If is noticeable in the 1840s that Turner was buying back his own paintings sold through the course of his prolific career. Turner wanted a legacy in which he would be remembered for many years to come. He wanted a couple of his paintings displayed alongside those of his hero Claude Lorraine, at the newly built National Gallery.
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