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image SM 39/1/44

Reference number

SM 39/1/44

Purpose

[2] Design for alterations to the chamber floor, 29 May 1802

Aspect

Plan of the Chamber Floor with the proposed alterations

Scale

bar scale of 3/10 inch to 1 foot

Inscribed

as above, The Dowager / Countess of Portsmouth, labelled: Bed room (4 times), Closet, (pencil) ---- (illegible) Landg, Lady Portsmouth has settled to have the / back Staircase in the situation / Mr Soane has placed it // No Closet to be made in the small bed / Room in the front of the House / but a door cut through as shewn on / the plan // No partition to be put on the Landg / of the Staircase for the convenience of / Closets // That part of the Back Staircase of the / largest dimensions & as much as is / sound to be made use of / May 28th [29th] 1802 // (pencil) The Beer Cellar & the parts above / it affected with the Dry Rot and other illegible pencil inscriptions

Signed and dated

Lincolns Inn Fields May 28th [29th] 1802

Medium and dimensions

Pen, pencil, sepia and pink washes, pricked for transfer on laid paper (687 x 566)

Hand

Thomas Sword
Pupil January 1799 - 1804.

Notes

The Soane Office Day Books record Thomas Sword 'making out fair plan of the chamber floor &c &c' on Saturday 29 May 1802. The alterations shown in the drawing include a new closet for the small bed room at the front of the house, partitions and closets dividing the two larger bed rooms, a new staircase to the rear of the house and the enlargement of the window of the rear bed room. A note explains that Lady Portsmouth approved of the position of the staircase and that the existing materials were to be reused provided they were in a sound condition, but that no closet was to be added to the small bed room at the front of the house and that no partition was to be built on the landing - hence the reason that these are crossed out in pencil on the plan.

Level

Drawing

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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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