Study for Somerset House, Strand, from Microcosm of London c. 1809

Editor: Here we have "Study for Somerset House, Strand, from Microcosm of London," dating back to about 1809, by Augustus Charles Pugin. It's an etching in ink, graphite, and watercolor. What immediately strikes me is the linear quality of the drawing; it almost feels architectural in its precision, and perhaps a bit sterile in that precision. What do you see in this piece? Curator: Your observation is quite astute. The essence of this work resides within its meticulous rendering. Note how Pugin employs linear perspective, dividing the space with orthogonal lines. What effect do you think the limited tonal range has on your interpretation of the drawing? Editor: It feels almost like a blueprint. The light wash gives depth but not much warmth, thus a rather cold reading. Curator: Precisely. It's about the formal language. Consider the structure; a balance between the monumental facade and the implied depth of the streetscape. Do you perceive any tension created by this compositional choice? Editor: I see that it may not be entirely natural, yet compelling, yes. It does keep the eyes busy going in different directions as the artist guides us. What strikes me is how modern this aesthetic seems in spite of being over 200 years old. I imagine it could be a great preparatory drawing for an elaborate finished etching or watercolor, a peek into the making of the London Microcosm series. Curator: Indeed. The inherent formalism, its rigorous design and carefully planned construction are crucial. Editor: That’s given me a new way to approach architectural drawings. Curator: And it reinforces the importance of structure over sentiment.