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image SM 77/1/72

Reference number

SM 77/1/72

Purpose

[20] Working drawing for the roof to breakfast room and porch

Aspect

Plan, Section and details

Scale

bar scale of 2/5 inch to 1 foot

Inscribed

as above, Henry Peters Esqr, Section of the Gutter &c to a larger Scale, The Section of the Girder a to larger scale, Section thro the Bindng Joists, [section] The point D will be 8 Inches lower / than E to make a fall for the Water / The Point of the gutter at G to be 8 Inches / lower than at f. [plan] water pipe, Wall Plate (twice), Gutter B, Trussed Girder (twice), Bridging Joists, Bending Joists [section of gutter] Line of gutters against wall of House at F, Boarding for Lead, Bridging / Joist, Gutter Plate, Firing on Binding Joist, Binding Joists, Wall Plate, Plates, Ceiling Joist [section of girder] Bridging / Joist (twice), Boarding for Lead, Ceiling / Joist, Plates, Girder, Binding Joist, firing on Binding Joists / to give the fall for the Water [list] Scantlings / Ft In / Girder 14 by 12 / Binding Joists 8 by 5, Bridging Joists 5½ by 4 / Ceiling Joists 2½ by 3 / Wall Plate 9 by 4 and a few dimensions given

Signed and dated

Lincolns Inn fields June 19th 1801

Medium and dimensions

Yellow, sepia, red and blue washes, pricked for transfer on wove paper with one fold mark (559 X 688

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

See drawing [21] for a revised desingn for the roof timbers.

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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