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image 77/1/60

Reference number

77/1/60

Purpose

[69] Working drawing for the roof timbers, 30 April 1795

Aspect

Section of partition in the attic storey; and detail of oak nozing around roof; (verso) half-plan of the floor timbers

Scale

bar scale of 1/2 inch to 1 foot and half the full size

Inscribed

William Praed Esqre, A copy of this sent to Richards at Tyringham, The Quarters are to be nailed / on all the Partitions, as / shewn in the drawing // Whole Deal boarding on the flat // Whole Deal Gutters / 3/4 Deal boarding on the Sl---- // Purloins 5" by 5" // Small Rafters 3" by 3"½ // Small Quarters 3" by 3" and notched / in 1 Inch // Put small plates of Iron between / the Joints of Timbers &c / The Irons which go through / the Partition to be 1 Inch square / with a strong nut & screw at / each end, with a plate under / each nut 8 inches by 6 // Joists 7" by 3", The Girders to be of the largest / scantling that the pieces of / Timber will admit of, Put thin plates of Iron between / the shoulders of the Tennons / & the cheeks of the mortices / in all the Principal Timbers / as directed above at AAA &c, The Gutter is shewn here deeper / then it will be wanted in / in (sic) the Plan where the Partition / stands, it is shewn as deep / as it will be wanted any / where merely to shew that / such a Gutter may be had, Whole Deal Boarding, and section labelled Girder (twice), A (five times) and dimensions given ; (verso) X, Y, Z, L, M, N, O, P, V, B

Signed and dated

L.I.F. April 1795 and April 30th 1795

Medium and dimensions

Pencil, pen and yellow, black, grey and pink washes on cartridge paper (618 x 487)

Hand

Soane office

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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