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image SM 34/2/25

Reference number

SM 34/2/25


[86] Working drawing for ceiling to drawing room


Plan of one Quarter / of the Cieling (sic)


to a scale


as above, The Right Honble / The Lord Eliot, face of Cieling, F (full size), I Centre of Cieling, D E G E H, face of Cieling, E full size, D Cornice, Pilasterl / Capital, and a few dimensions given

Signed and dated

  • 08/07/1806
    Lincolns Inn Fields July 8th 1806

Medium and dimensions

Pen and light red wash, partly pricked for transfer on laid paper (542 x 685)
Pen and light red wash, pricked for transfer on laid paper (548 x 686)


Charles Malton (1788-?) (pupil February 1802 - December 1809)
attributed to Charles Malton (1788-?) (pupil February 1802 - December1809)


This drawing is reproduced in Ptolemy Dean's Sir John Soane and the country estate, 1999, fig.7.18. Dean wrote that 'the round drawing room was especially difficult to resolve ... as here Soane had inherited the assymetrical location of three windows, a doorway and a chimneypiece. A harmonious solution was acheved by dividing the room into six equal bays whch reflected the form of the windows in blind openings. Regrettably, the pilasters which made these divisions were lost in a late-nineteenth-century remodelling. The window openines of the round drawing room were chamfered ... and provided with thin metal glazing bars. For the ceiling, Soane ... insert[ed] his shallowest dome. Built up with drisp plaster mouldings, it was incised with the same Greek key pattern that he had instroduced in his own breafast room at Pitshanger.'



Digitisation of the Drawings Collection has been made possible through the generosity of the Leon Levy Foundation

If you have any further information about this object, please contact us: drawings@soane.org.uk

Sir John Soane's collection includes some 30,000 architectural, design and topographical drawings which is a very important resource for scholars worldwide. His was the first architect’s collection to attempt to preserve the best in design for the architectural profession in the future, and it did so by assembling as exemplars surviving drawings by great Renaissance masters and by the leading architects in Britain in the 17th and 18th centuries and his near contemporaries such as Sir William Chambers, Robert Adam and George Dance the Younger. These drawings sit side by side with 9,000 drawings in Soane’s own hand or those of the pupils in his office, covering his early work as a student, his time in Italy and the drawings produced in the course of his architectural practice from 1780 until the 1830s.

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