The collection has been divided into seven typological Parts. Parts 4 and 6 are additionally subdivided, with the several royal palaces arranged alphabetically. Within each of these Parts (or sub-sections) the drawings are arranged chronologically by project. Every drawing has been given a new number (see the Concordance). A handful of engravings and documents have been excluded from the main sequence, although reference to these will be found in the relevant place in the catalogue.
The entries are laid out follows:
- (1) New entry number, followed by the original All Souls number.
- (2) The identity of the design and its relationship to the finished building.
- (3) Date.
- (4) Method of representation (e.g., plan, elevation, section, perspective).
- (5) Name of draughtsman.
- (6) Scale (to 1 inch).
- (7) Medium (including under-drawing technique).
- (8) Sheet dimensions (height before width). All drawings are on laid paper unless stated otherwise.
- (9) Watermarks. These are described as general types (my terminology is loosely based Nancy Ash’s Rembrandt’s Watermarks, Washington, 1998). For unusual watermarks, I refer to the reader to Edward Heawood’s Watermarks Mainly in the 17th and 18th Centuries (Hilversum, 1950; repr. Amsterdam, 1970). Watermarks and countermarks are separated by a semicolon.
- (10) Additional technical information (including pricking as evidence of duplication).
- (11) Subsequent alterations or additions to the design.
- (12) Inscriptions. These are given in full as they appear on the drawing.
- (13) Endorsements (on the back of the sheet).
- (14) Additional drawing on the back of the sheet.
Every entry, or groups of related entries, is followed by a short commentary. The aim of these paragraphs is to document the projects and refer the reader to the relevant primary sources. I have resisted the temptation to describe or interpret. Supporting references are given in round brackets. References in square brackets relate specifically to the drawing(s). The latter list the more important scholarly literature and make no attempt at completeness. The abbreviated references are expanded in the bibliography. Dates are given New Style throughout (except for inscriptions on the drawings).
Every drawing in the collection has been illustrated. Only the more important drawings on the backs of sheets are reproduced. Engravings and manuscripts have not been included.
The drawings are reproduced with the kind permission of the Warden and Fellows of All Souls College, Oxford.