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Reference number

(11) 28/2/5 (12) 28/2/20


Working drawings for the ground floor and for the drawing room, October 1784 (2)


11 Plan with revisions for The principal Story of Tendring Hall, Suffolk including plan of drawing room ceiling 12 Plan and wall elevations and detail of Base & Surbase Moldings for the Drawing Room


(11) bar scale (equivalent of 2 1/3 inch to one foot) (12) 1/3 inch to 1 foot (approximately)


11 as above, Rear Admiral Rowley, notes (by Soane about secondary stair) A.A. From Hall Story to Mezzanine / B to G to Principal Chambers / B door with Mezzanino / You must pass thro' Mezzanino Room C to get into Bed Room D / From the floor of Mezzanino to / P.[rincipal] Bedchamber is 4':11" / And from P. Bedchamber to the / Chambers over Mezzanino is 5.0. 18:4 with other calculations, (Baldwin) rooms labelled: Eating Parlor, Library &c, Vestibule, Withdrawing Room, Bedchamber, Dressing Room (twice), Admiral Rowley's room, (ceiling) make this frame like that which finishes the Cove in the Library, (verso) Tendring Hall / Plan of Principal Floor 12 as above, (Soane) Drawing Room at Tendring Hall, Door Entablatures the same as in the Library Mrs Rowley's Room / Window Architraves do / Omit the Grounds round the doors & Windows / and over them?, A. This Ground Projects ½ an Inch before B / C. Molding laid in the plain Ground, lettered A, B , C and some dimensions given, illegible pencil note beginning E by a builder?, (Sanders) Tendring Hall and (verso, unidentified hand) Drawing Room

Signed and dated

  • (11) Margaret Street Octr 2d 1784

Medium and dimensions

(11) Pen, pink wash, pencil on laid paper, with recent repairs to a well used sheet (575 x 440) (12) pen on cartridge paper with three fold marks, with some recent repairs (611 x 492)


(11) Robert Baldwin (fl.1762-c.1804) with ceiling design and amended staircase and notes added by Soane (12) Soane with two inscriptions by Baldwin


(11) J Whatman, fleur-de-lis above cartouche with bar and below, ornate W


11 The overall dimensions of 68 feet 9 inches wide by 62 feet 9 inches deep are the same as on drawing 5. There have been some minor adjustments in room dimensions, the 'gentleman's dressing room' and 'Bedchamber' of drawing 5 are now a 'Bedchamber' and 'Admiral Rowley's room' and the layout of the dressing rooms and secondary stair between them have been revised. Baldwin had already incorporated two windows rather than one on either side of the garden bow but Soane changed the position of the pair of columns in the 'eating parlour' and added the location of flues. His sketch plan for the drawing room ceiling is reminiscent of the tracings he made when in Henry Holland's office (1772 to March 1778) of designs for ceilings as well as chimneypieces and doors at Claremont House see 'Original Sketches / Miscellaneous / Architectural / Subjects': album with 195 drawings by Soane, Dance, Holland and others, dated c.1757 to 1818 (volume 42) Presumably Soane asked Baldwin to draw the plan and then having revised it, Baldwin drew it again. By October 1784, the newly arrived pupil John Sanders would not have been up to the task.
12 Entirely drawn by Soane, the only indication of ornament is the Greek fret and plaque with swag over the door. A note indicates that the entablature is to be the same as in Mrs Rowley's room. Other notes mention 'ground' and 'grounds' with a query about omitting them addressed by Soane to himself or Baldwin or the builder? 'Grounds' are the 'Rough wood skeleton frames fixed to solid construction to receive the joiner's work.... The grounds served as screeds to the plastering ...' Soane is probably trying to cut labour costs. The definition used here comes from the Architectural Publication Society's Dictionary of Architecture in 8 volumes edited by Wyatt Papworth, 1852-92.



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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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