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  • image SM 8/3/45

Reference number

SM 8/3/45


[7] Design for a peachery


Plan of Peachery, Elevation, Longitudinal Section and Latidunal Section


to scale (two scales)


as above and The Duke of Leeds

Signed and dated

  • 10/09/1795
    Lincolns Inn Fields Septr 10th 1795

Medium and dimensions

Pen sepia, burnt umber pink and green washes on laid paper (530 x 418)


Soane office hand (Soane office Day Book lacking for this date)


J Larking & fleur de lis above shield with bar and below, GR


The drawing for a peach house is one of fifty designs (kept in the same folder 8/3/1-50) for conservatories, greenhouses, hothouses, stoves for forcing fruit trees, pinerys, vinerys, a combined peachery, pinery and washouse, and a design for a vegetable garden. Some are designs by John Haverfield of Kew (1744-1820), others taken from W. Speechly's Treatise on the Culture of the Vine, 1795. Glasshouses were expensive to build because of the tax on glass and this seems to have been a large one (no scale is shown). It was to be built as a lean-to at an angle of about 45 degrees and has what are described (on other drawings) as flues and arches and is larger and more sophisticated than the smaller hothouses warmed by decomposing dung. The latitudinal section shows vines rather than peaches but perhaps this hothouse was intended for a mixed use.



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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