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image Image 1 for SM (131) 82/1/70 (132) 82/2/2
image Image 2 for SM (131) 82/1/70 (132) 82/2/2
image Image 3 for SM (131) 82/1/70 (132) 82/2/2
  • image Image 1 for SM (131) 82/1/70 (132) 82/2/2
  • image Image 2 for SM (131) 82/1/70 (132) 82/2/2
  • image Image 3 for SM (131) 82/1/70 (132) 82/2/2

Reference number

SM (131) 82/1/70 (132) 82/2/2

Purpose

Designs for the ground floor and roof, July 1831 (2)

Aspect

131 Plan of the Ground Floor 132 Plan of the Lead Flats Chimney Shafts &c with sections through the roofline looking north, east and south; (verso) rough block plans and perspective from Duke Street

Scale

(131, 132) bar scales of 1/6 inch to 1 foot

Inscribed

131 as above, State Paper Office 132 as above, New State Paper Office

Signed and dated

  • July 1831
    (131, 132) L.I.F. / July 1831

Medium and dimensions

(131) Pen and pink wash, pricked for transfer on wove paper (370 x 528) (132) pen, sepia, blue-grey and pink washes (verso: pencil, grey and blue washes), pricked for transfer on wove paper (480 x 528)

Hand

(131, 132) George Bailey (1792-1860, pupil then assistant 1806-37, curator 1837-60)

Watermark

(132) Smith & Allnutt 1830

Notes

The only discernible difference between drawing 131 and the next closest ground floor plan (drawing 124) is the location of the entrance to the water closet at the top of the drawing. The section at the top of drawing 132 shows the access to the roof of the new State Paper Office while the pencil section to the left shows the brick vaulting of the attic ceiling. The chimney stacks are shown to the same design as in drawing 130 with the addition in some cases of a crenellated top.

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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