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image SM (85) 56/2/25

Reference number

SM (85) 56/2/25


Working drawing for window frames, June 1830


85 Elevations of window frames and sashes


bar scale of ¾ inch to 1 foot


This Drawing to be returned / with the Work, No 1 Deal case frame with Oak Sunk / Cill and 2 In[ch] D[ea]l Ovlo [sic] Sashes double / hung as B for Porters Room - with wide / inside bead to receive Iron Gaurd (sic) as Agents Room, No 4 Deal case frames with Oak / Sunk cills and 2 In D[ea]l Ovlo Sashes / double hung for Servants Hall / Kitchen & Scullery / as pr Drawing No 10, No 1 Deal Case frame as last / as pr Drawing No 10 for / Lobby, No 1 Deal case frame as last / as pr Drawing No 10 / for Pantry, Sashes & Frame as this for Porters Room, No 5 Deal case frames with oak Sunk cills / and 2 In D[ea]l Ovlo Sashes double hung for / One Pair Floor as pr Drawing No 10 and dimensions given

Signed and dated

  • June 8th 1830 / Thos Heath

Medium and dimensions

Pen, pricked for transfer on wove paper with three fold marks (530 x 650)


Thomas Heath, clerk of works


Thomas Heath was instructed by Soane to go to Manchester to superintend the works there on 26 May 1830. The following working drawings were all made by Heath (unless otherwise stated) during the course of the works over the next 9 months.
'Drawing No 10' is a working drawing for door jambs, doors, frames and linings dated April and May 1830. It is catalogued here with a copy (drawings 79 and 80).
Ovolo (spelled 'ovlo' by Heath) is 'a Classical convex moulding, usually a quarter of a circle in profile and sometimes ornamented with egg and dart or similar motifs' (J. Lever and J. Harris, Illustrated Dictionary of Architecture, 800-1914, 1993).



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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