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Record drawings of the house, November and December 1807 (5)


The ground floor plan is shown without room labels. The drawing room occupies the bowed room centred on the rear elevation and lies between the billiard room, to the east, and the music and breakfast room to the west. The eating room faces the front elevation on the west corner and is balanced by a bedroom suite to the south-east. The office court communicates with the house via a passage behind the principal stairwell.

The first floor plan shows the same design as in earlier plans (for example, drawings 55 and 119) except for partitions that divide the ladies' dressing room into three smaller rooms.

The attic is the same as survey drawings 76 and 121. Circular lanterns are over the principal staircase, tribune and a first-floor dressing room. The lanterns are surrounded by flat roof, which the principal attic corridor overlooks. The corridors are lit by these windows, as are the east bedrooms and the secondary staircase. The bedrooms on the west side of the building have dormer windows. Except for those occupying the bowed centres, the attic rooms fit under a hipped roof.

The front elevation shows the house as built. A semicircular portico with a giant Ionic order surrounds the front entrance. Its entablature continues around the building, projecting slightly at the corners over paired pilasters. A balustraded parapet crowns the entablature and screens the attic. Part of the attic projects over the portico and is faced with panelled pilasters framing its three windows. The ground floor of the house has banded rustication surrounding the windows. An incised Greek fret moulding forms a frieze between the first and ground floors, and a narrow string course links the first floor window sills.

The section of the house, drawing 150, is a fair copy of drawing 144.



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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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Contents of Record drawings of the house, November and December 1807 (5)