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image Image 1 for SM (99) volume 76/25 (100) volume 76/26 (101) volume 76/28 (102) volume 76/29 (103) volume 76/27 (104) volume 76/31 (105) volume 76/32
image Image 2 for SM (99) volume 76/25 (100) volume 76/26 (101) volume 76/28 (102) volume 76/29 (103) volume 76/27 (104) volume 76/31 (105) volume 76/32
image Image 3 for SM (99) volume 76/25 (100) volume 76/26 (101) volume 76/28 (102) volume 76/29 (103) volume 76/27 (104) volume 76/31 (105) volume 76/32
image Image 4 for SM (99) volume 76/25 (100) volume 76/26 (101) volume 76/28 (102) volume 76/29 (103) volume 76/27 (104) volume 76/31 (105) volume 76/32
image Image 5 for SM (99) volume 76/25 (100) volume 76/26 (101) volume 76/28 (102) volume 76/29 (103) volume 76/27 (104) volume 76/31 (105) volume 76/32
image Image 6 for SM (99) volume 76/25 (100) volume 76/26 (101) volume 76/28 (102) volume 76/29 (103) volume 76/27 (104) volume 76/31 (105) volume 76/32
image Image 7 for SM (99) volume 76/25 (100) volume 76/26 (101) volume 76/28 (102) volume 76/29 (103) volume 76/27 (104) volume 76/31 (105) volume 76/32
  • image Image 1 for SM (99) volume 76/25 (100) volume 76/26 (101) volume 76/28 (102) volume 76/29 (103) volume 76/27 (104) volume 76/31 (105) volume 76/32
  • image Image 2 for SM (99) volume 76/25 (100) volume 76/26 (101) volume 76/28 (102) volume 76/29 (103) volume 76/27 (104) volume 76/31 (105) volume 76/32
  • image Image 3 for SM (99) volume 76/25 (100) volume 76/26 (101) volume 76/28 (102) volume 76/29 (103) volume 76/27 (104) volume 76/31 (105) volume 76/32
  • image Image 4 for SM (99) volume 76/25 (100) volume 76/26 (101) volume 76/28 (102) volume 76/29 (103) volume 76/27 (104) volume 76/31 (105) volume 76/32
  • image Image 5 for SM (99) volume 76/25 (100) volume 76/26 (101) volume 76/28 (102) volume 76/29 (103) volume 76/27 (104) volume 76/31 (105) volume 76/32
  • image Image 6 for SM (99) volume 76/25 (100) volume 76/26 (101) volume 76/28 (102) volume 76/29 (103) volume 76/27 (104) volume 76/31 (105) volume 76/32
  • image Image 7 for SM (99) volume 76/25 (100) volume 76/26 (101) volume 76/28 (102) volume 76/29 (103) volume 76/27 (104) volume 76/31 (105) volume 76/32

Reference number

SM (99) volume 76/25 (100) volume 76/26 (101) volume 76/28 (102) volume 76/29 (103) volume 76/27 (104) volume 76/31 (105) volume 76/32

Purpose

Working drawings, 1 to 24 November 1810 (5)

Aspect

97 Plan of the Timbers over the arcade of the New Infirmary at Chelsea Hospital 98 Plan of the Long Ward of the new Infirmary at Chelsea Hospital 99 (Longitudinal) Section of the Line AB of the Long Ward at the new Infirmary Chelsea Hospital 100 (Cross) Section of the Line CD of the Long Ward at the new Infirmary Chelsea Hospital 101 (Longitudinal) Section of the Line AB of the Long Ward at the new Infirmary Chelsea Hospital 102 Sections of the lower ward in the S.W. Wing of / the New Infirmary, Chelsea Hospital 103 Section of the lower ward in the SW. Wing of the Infirmary,

Scale

(99-102) bar scale

Inscribed

99-100 as above and some dimensions given 104-105 as above

Signed and dated

(99) Novr. 1st. 1810 (100) Taken Novr 16th 1810, J.B. / Novr 19th. 1810 (101) Taken Novr 16. 1810, Fin[ishe]d Novr 24. 1810 / J.B (102) Taken Novr 16th. 1810, Fin[ishe]d. Novr 24th. 1810 / J.B

Hand

(99, 103-105) Soane office (100-102) John Buxton (pupil 1809-1814, as per inscription)

Watermark

(99-105) 1807

Notes

Drawing 97 shows the structure of the timbers forming the roof of the south front arcade, and the floor for the balcony-walkway above it. The shorter pairs of beams are spaced according to the rhythm of the arcade piers and are designed to bear more weight. The outer perimeter is coloured red to signify brick.
The cross section shown in drawing 100 corresponds to the end wall elevation shown in the perspective view of drawing 96. It also appears to coincide with the plan shown in drawing 98, cut across the line labelled 'AB'. Similarly, the longitudinal section of drawing 99 corresponds to plan 98, across the line 'AB', as labelled.

Level

Drawing

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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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