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image SM volume 41/68 verso

Reference number

SM volume 41/68 verso


[1] Record drawing of designs for a greenhouse and garden wall


Elevation and plan of the greenhouse; elevation and plan of garden entrance


Genl Murray, Garden Wall, Design for Entrance to Garden at Beauport Sussex, Brickwork (four times), stone, open, stone, 10 feet (twice), 15 feet, 30 feet, 15 feet, Leave this opening like / one of the in front & perhaps / bricked up afterwards, Garden Wall, Design for the greenhouse at Beauport Sussex, brickwork (five times), stone (three times), 15 feet, 5 feet, 10 feet, and dimensions given

Signed and dated

  • 1900
    Initial sketch
  • 1901
  • 1902
    Basis for print

Medium and dimensions

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


John McDonnell (1770 -, pupil, 18 March 1786-91)


The greenhouse is attached to the garden wall and measures 30 by 15 feet. The front elevation has three round arches springing from brick piers. The brick pediment has stone accents on the raking cornice, springing and base. Both side elevations have a single arch. A note on the drawing suggests that one of the arches, presumably that facing north, is left open '& perhaps bricked up afterwards'.

Soane supplied General Murray with designs for a greenhouse in 1786, charging £15 15s 0d. In 1787, he surveyed the house and made drawings for alterations and in 1790 he made designs for an obelisk, charging £16 16s 0d for these works. Soane did not supervise any building works and it is unknown whether the designs were executed.


D. Stroud, Sir John Soane Architect, 2nd ed., 1996, p. 245; P. Dean, Sir John Soane and the country estate, 1999, p. 176.



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.

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