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image SM 4/5/20

Reference number

SM 4/5/20


[39] Design for alterations to the chamber floor, 13 February 1802


The Plan of the Chamber Floor / with the proposed Alterations


as above, Samuel Thornton Esqr, Albury Park, labelled: Bed Chamber / 24.3 by 18.3, (pencil) White Paper, Bed Chamber / 24.3 by 18.3, (pencil) White Paper / & Yellow / Greek Border, Dressing Room / 14.9 by 21.6, (pencil) Coral Paper, Bed Chamber / 27.0 by 21.9, (pencil) Coral Paper, Passage, Bed Chamber / 16.6 by 13.3, (pencil) Green Paper, Bed Chamber / 16.6 by 13.3, (pencil) Green Paper, Best Staircase, Bed Chamber / 24.6 by 20.9, (pencil) Coral Paper, Bed Chamber / 23.3 by 15.9, Back Staircase, Bed Chamber / 14.6 by 16.0, Water / Closet, Dressing Room, Bed Chamber / 14.6 by 17.0, Bed Chamber / 14.0 by 20.6, Dressing Room, Upper part of Kitchen, Servant Bed Room / 16.0 by 14.0, Servant Bed Room / 16.0 by 16.9, Servant Bed Room / 12.6 by 17.6, Servants Bed Room / 14.3 by 10.0, Servant Bed Room / 16.0 by 26.10½

Signed and dated

  • 13 February 1802
    (Soane's hand) Plan fixed Feb 13 1802 / Recd Sunday Morng Feb 14 1802

Medium and dimensions

Pen, sepia, light red and blue washes, pricked for transfer on wove paper (470 x 596)


Soane Office


This drawing relates to the part plan [31]. The chamber floor in this design has six Bed Chambers in the main part of the house, four in the west wing, and five Servants' Bed Rooms on the first floor of the new offices. The Best Staircase is moved to a new position. Pencil inscriptions on the plan refer to the decoration of the principal rooms with 'White Paper', 'Coral Paper' and 'Green Paper'.



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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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