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image SM (45) 56/11/33

Reference number

SM (45) 56/11/33


Survey drawing of a house in Tombland


45 Ground floor plan


bar Scale 1/8th to a Foot


as above, labelled: Tombland, (pencil) Gate into / the Upper / Close, Rooms over Gateway, Closet (3 times), Passage (3 times), Parlor (twice), (pencil) H---- ---- (illegible), (pencil) Butler / Pantry, (pencil) 18.0 by 17.0, Hall, (pencil) 16.0 by 17.0, Dining Room, (pencil) 15.9 by 25.6, Kitchen, Washouse (sic), Larder, Low Buildings, Saint Faiths Lane, (pencil) In Hochstetters Map this is called "Seven Coats Row", Yard, Harness, Privy, Stable, Box, Coach House, (pencil) St Faiths Lane / or / Seven Coats Row, South, Garden, Green House, Furnace, Privy, (pencil) Obelisk on Tombland, (pencil) B; (verso, pencil): B, 10.6 high Parlor / Cellars in Bast / Not Arched / Dry

Medium and dimensions

Pen and sepia wash on wove paper with five fold marks (635 x 589)


local surveyor


Ruse & Turners 1827


At its widest, the building measures 62 feet across and 146 feet from front to back, with a large garden to the rear and a small outbuilding measuring 23 feet by 9 feet. The tiny elevation of an obelisk does not relate to the current obelisk in Tombland, which was erected in 1860. 'Hochstetters map' is a map of Norwich made in 1789 found in the Soane collection (SM 57a/3/9) and marked in pencil to show the location of the building. Despite being gutted by fire in 1945, the Georgian outer walls of the building (which is now known as 'Cambridge House' and is listed Grade II) have survived.

English Heritage, British Listed Buildings: 26, Tombland, Norwich, http://www.britishlistedbuildings.co.uk/en-229680-26-tombland-norfolk



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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