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  • image SM (9) 56/5/7

Reference number

SM (9) 56/5/7


Design for alterations and additions, Temple Street


9 Plan of the Premises in Temple Street, Swansea


bar scale of ? inch to 1 foot


as above, and The Bank of England, NSEW compass point, labelled: Theatre, Dog House, Stable, (pencil) Proposed / Harness / Room, (pencil) Door, Stable Yard, (pencil) Coals, (pencil) Shed, (pencil) Coach house, Coals, Wood, Privy, Coping & Iron Railing, Mr Edmonds / Warehouse, Abt 3 ft / lower than top / of Wall A, Steps, Yard &c belonging to Mr Edmond, Wash house, Sink, Copper, Pantry / &c, Back Kitchen, Fireplace, (pencil) Proposed House / Keepers Room, (pencil) Arch, Kitchen, Stairs from Kitchen, Parlour, Book Case (twice), Private / Entrance / Door, Lobby, Pantry, Book Room / &c, Porters Bed, Iron Door, Safe / Room, Safe, Iron Guards (4 times), Private Office / 14.2 by 21.10, Bank Office / 19.7 by 17.10, Chy (twice), Desk (twice), Counter, Swing Door, Entrance Lobby to the / Bank, Door (twice), Terrace / (pencil) Paving much worn, (pencil) A. 5 ft higher than B., (pencil) Stove, Drawing Room, Stairs to Cellar, Slated Roof, Miss Williams, Coach House

Medium and dimensions

Pen, sepia, pink, warm sepia and grey washes, with alterations and additions in pencil, pricked for transfer on wove paper with two fold marks, old repair on right hand side (430 x 698)


Soane office


Smith & Allnutt


Drawing 9 shows the whole of the irregular site, which measures approximately 154 feet at its widest and 69 feet from front to back. Banking areas are coloured with pink wash, as opposed to domestic areas which are colourless. The drawing also shows in pencil alterations to the site, principally concerned with the stable yard to the west of the existing buildings.



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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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