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  • image SM 30/2/77

Reference number

SM 30/2/77


[89] Design for finishings to the drawing room, 21 October 1790


Plan and laid-out wall elevations


to a scale


Finishings to Drawing Room, The Marquiss of Abercorn, lettered (Soane) A to C corresponding with key (Soane)': A.A.A. meeting rails, one frame to throw up into the head / The windows are to be splayed all found / observing that the heads are as high as / the brickwork & lintels will permit // The height of the architraves to the windows / determines the height of the architrave / to the doors. // The pannels over the door are to be / left as described in the section of the / Eating Room // The dado is to be 2 feet 6 high; the plinths / to range with the plain parts under the sashes. // B Shutters to be cast at this rail // The beads on the margins of the shutters to range with the / bar of the sashes C, I did not suppose it possible for any more errors / to be made in copying this drawing, but / CC were always (except in this drawing) shewn as / windows & must be so in the execution; this act of / stupidity & shameful inattention can only / be corrected by another drawing being made / directly, as the whole business stands / still. / J.S., This drawing may be kept as a copy (I do not / mean of the Blunders arising from inattention / every drawing lately made in the office will / bear testimony on that head) least the workmen / should be equally careless with the draughtsmen / & light their fire with it in their dreams instead of shavings and some dimensions given

Signed and dated

  • 21 October 1790
    Albion Place Octr 21st 1790

Medium and dimensions

pen and grey and pink washes on laid paper (676 x 551)


SOANE, Sir John (1754--1837), architect
Soane office and Soane
Soane Office, draughtsman
Soane office and Soane



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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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