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  • image Image 1 for SM (1) volume 41/71 (2) volume 41/72
  • image Image 2 for SM (1) volume 41/71 (2) volume 41/72
  • image Image 1 for SM (1) volume 41/71 (2) volume 41/72
  • image Image 2 for SM (1) volume 41/71 (2) volume 41/72

Reference number

SM (1) volume 41/71 (2) volume 41/72


Record drawings of alternative designs for the stables (2)


1 Ground plan showing stables on a semicircular plan 2 Ground plan showing stables on a rectangular plan


(1) 1/26 inch to 1 foot, approximately (2) to a scale


1 Out line of the mansion House withe the proposed Alterations, Lord Mulgrave 2 Lord Mulgrave

Medium and dimensions

(1-2) Pen and grey and pink washes, on laid paper (364 x 244) bound into Precedents in Architecture SM volume 41


(1) John McDonnell (1770 - , pupil 18 March 1786-1791) (2) John Sanders (1768 -, pupil 1784-90)


(1-2) fleur-de-lis


Drawings 1 and 2 are alternative designs for the proposed stables and offices, also showing an outline of the proposed house. With its proposed additions, the house is on an elongated L-shaped plan, the west front being symmetrical with bow windows at both ends and the entrance front having an asymmetrical elevation with a semicircular portico. The offices and stables, in pink on both plans, extend to the north and are on axis with each other.

In drawing 1, the stables are arranged on a semicircular plan, with three principal buildings arranged around a court approximately 81 feet 3 inches by 84 feet 6 inches. Drawing 2 has the stable ranges on a simpler rectilinear arrangement, consisting of three separate buildings. In both designs, entrances to the stables court bookend the south office range.

The offices in both drawings are on a rectangular plan; in drawing 1 the offices are linked to the house.



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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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