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image SM 5/1/10

Reference number

SM 5/1/10

Purpose

[14] Working drawing for addition of breakfast room

Aspect

Plan with new windows to Mr Peters' room and added breakfast room

Scale

bar scale of 1/5 inch to 1 foot

Inscribed

Henry Peters Esqr Betchworth Castle, labelled Mr Peters Room, Mr Peters / Dressing Room, Lobby, Hall, Anti Room, A B C, The Breakfast Room, flue, D E FG H I, Qy [query] windows / straight on / the plan, Breakast room dimensions 19:6 and 31:11 Notes: A. The Centre of the present window at B / determines the Centre Line of the / Anti Room to the Breaskfast Room / Make A B equal to A C / Make the Wall between Anti Room & Breakfast Room 9 inches thick / Make the Walls next Mrs Peters Room D one foot 6 inches thick & leave a vacuity between the new wall & the old Wall / equal to the projection of the old plinth, so that the new work shall not rest on the old Work / NB The windows to be --- [indecipherable] Inches from the floor see drawing at large Notes continued: E. this Door is to be in the / Centre of the Anti Room & / the Chimney Pl. directly / opposite / Divide the spaces from E, G, H, I, F, / into equal parts / The width of the Windows is / not given, it must be exactly / the same as the width of the / window in Mr Peters Room K

Medium and dimensions

Pen, sepia and light red washes, pricked for transfer o wove paper with seven crease marks (557 x 682)

Hand

Henry Hake Seward (1778 - 1848)
Pupil and assistant May 1794 - September 1808. Henry Hake Seward with Thomas Sword. Information from Soane office Day Book.
Thomas Sword
Pupil January 1799 - 1804.

Notes

This design omits the porch of drawings [12-13] and includes the buttresses on the outside of the breakfast room sketched-in on drawing [13]. The chimney piece - is placed as in drawing [13].

Level

Drawing

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

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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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