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  • image SM 79/1/10

Reference number

SM 79/1/10


[35] Working drawing of the bridge, October 1793


Latitudinal Section of Bridge; Latitudinal Elevation of Bridge; Plan of the Partitions &c; Plan of the Superstructure; Longitudinal Section of Bridge; Longitudinal Elevation of Bridge; elevation and plan of partition; (verso) detail of Base moldings to the wings; section of partition including balustrade; detail of molding on the top of plinth to Balustrade / on the outside of Bridge; detail of molding on the top of Plinth / to Balustrade inside of / Bridge; detail of Cornice under the Plinth of Balustrade / on the outside of Bridge; detail of Rail to Balustrade


bar scale of 1/6 inch to 1 foot, approximately; (verso) full size and to a scale


as above, William Praed Esqr, A Molding at large / on the other Side // Molding at large on the other Side // C Cornice at large on / the other Side, Center, Line, Grave / & / Clay, latitudinal elevation lettered A to C, latitudinal section lettered A to C, Cylinder (twice), Center Line, longitudinal section numbered 1 to 30, A, Gravel & Clay, longitudinal elevation numbered 1 to 30, B (twice), C and dimensions given; (verso) full size (four times), face of bridge, Line of Road, A, B, C, face of Bridge, face of Plinth, Face of pedestal / of Balustrade, face of Plinth, face of Pedestal of / Balustrade, A, B, C, X

Signed and dated

  • October 1793
    Copy of this delivered to Mr Lorimer / Feby 3 1794 and Copy. Great Scotland Yard Octr 1793

Medium and dimensions

Pencil, pen and grey and pink washes on wove paper with one fold mark (547 x 645)


Soane office and Soane
SOANE, Sir John (1754--1837), architect
Soane office and Soane


fleur-de-lis over cartouche with bar and below, ornate W


A. Bolton, The Works of Sir John Soane, 1924, p. 19.



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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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