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image Image 1 for SM (7) 51/5/34 (8) 51/5/3
image Image 2 for SM (7) 51/5/34 (8) 51/5/3
  • image Image 1 for SM (7) 51/5/34 (8) 51/5/3
  • image Image 2 for SM (7) 51/5/34 (8) 51/5/3

Reference number

SM (7) 51/5/34 (8) 51/5/3

Purpose

[7-8] Slight variant of first design, 28 June 1825 (2)

Aspect

7 Plan of the Ground Floor 8 Plan of the Mezzanine (first floor)

Scale

(7-8) bar scale of 1¼ inches to 10 feet

Inscribed

7 as above, Design for New Committee Rooms &c / for the House of Commons, labelled: Passage leading to Cotton Garden &c, Mr Lee (Labourer in Trust), Court, Journal Office, Engrossing Office, Staircase and Committee Room 8 as above, Design for New Committee Rooms &c / for the House of Commons, labelled: (A) / Lobby of the House / of Commons / 6.7½ above B, B The Long Gallery / 6.7½ below A, 4.6 below (A), Court, Clerk of the Fees, Vote Office, (pencil) No 1 and dimensions given

Signed and dated

  • (7, 8) Lincolns Inn Fields / 28th June 1825

Medium and dimensions

(7, 8) Pen, sepia, red and light blue washes, pricked for transfer on wove paper (573 x 452)

Hand

The Day Book records: Bailey, Mocatta, Burchell and Davis, that is George Bailey, (1792-1860, pupil and assistant 1806-1837); David Mocatta, (1806-1882, pupil 1821-1827); Stephen Burchell, (1807-?, pupil 1823-1828); Edward Davis, (pupil 1824-1826)

Watermark

(7, 8) J Whatman Turkey Mill 1824

Notes

These plans for the ground and first (or mezzanine) floors of the Tudor Gothic building vary, by not very much, in the layout of the offices shown on drawings 1 and 2.

Level

Drawing

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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