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image Image 1 for SM (170) volume 76/41 (171) volume 76/42 (172) volume 76/43 (173) volume 76/44
image Image 2 for SM (170) volume 76/41 (171) volume 76/42 (172) volume 76/43 (173) volume 76/44
image Image 3 for SM (170) volume 76/41 (171) volume 76/42 (172) volume 76/43 (173) volume 76/44
image Image 4 for SM (170) volume 76/41 (171) volume 76/42 (172) volume 76/43 (173) volume 76/44
  • image Image 1 for SM (170) volume 76/41 (171) volume 76/42 (172) volume 76/43 (173) volume 76/44
  • image Image 2 for SM (170) volume 76/41 (171) volume 76/42 (172) volume 76/43 (173) volume 76/44
  • image Image 3 for SM (170) volume 76/41 (171) volume 76/42 (172) volume 76/43 (173) volume 76/44
  • image Image 4 for SM (170) volume 76/41 (171) volume 76/42 (172) volume 76/43 (173) volume 76/44

Reference number

SM (170) volume 76/41 (171) volume 76/42 (172) volume 76/43 (173) volume 76/44

Purpose

Record drawings, 2-22 November 1814 (4)

Aspect

170 Section of the Roof to the Bake House 171 Plan of part of the timbering of the / new Bake House at Chelsea Hospital 172 Plan and section of Part of the Roof of the new Bakehouse 173 Plan of the Bake house etc at Chelsea Hospital

Scale

(170-173) bar scale

Inscribed

170, 173 as above and some dimensions given 171-172 as above

Signed and dated

(170) November 2nd: 1814. (171) E.F., November 4. 1814 (172) E.F., November 5. 1814 (173) November 22. 1814, EF.

Hand

(170) Soane office (171-173) Edward Foxhall (1793-1862, pupil 1812-1821)

Watermark

(170, 172-173) 1812

Notes

The design for the Bakehouse roof - drawings 170 to 173 - shows a queen post structure with a with flat top. Interestingly this construction form was one that Wren often used, particularly at Chelsea (for the roof over the Great Hall). Soane also used it for his Stables (see drawing 121). This form allows for comparatively steeply sloping sides and low profile roof.

Evidently, Soane had to create a structure with a flat top because it was to support a central chimney. Thus the supporting timbers had to be strong enough to bear the chimney's weight, so scissor braces were used for support across the width of two (of the four) sides between queen posts (as shown on the upper section of drawing 170). The two shorter sides on the plan (drawing 171) are those represented.

The lower section of drawing 170 shows the two longer spans between queen posts, shown on the plan (drawing 171). The lower section of drawing 170 ties the beams in, rather than providing much structural support. It measures about 17 feet across, which is approximate to the longer span between the queen posts shown on drawing 171. Drawing 172 shows a detail of the roof's corner in plan and elevation.

Drawing 173 shows the plan - a two room, one-storey structure. One room was presumably a preparation space (with fireplace) whilst the other would have held the oven. The roof-beam dimensions roughly correspond to the plan.

Literature

D. Yeomans, The Trussed roof, its history and development, 1992, p.63

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.

Browse (via the vertical menu to the left) and search results for Drawings include a mixture of Concise catalogue records – drawn from an outline list of the collection – and fuller records where drawings have been catalogued in more detail (an ongoing process).