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  • image SM 51/2/7

Reference number

SM 51/2/7


Design for the basements beneath the new committee rooms, January 1825


Plan of the basements with section through the 'Vote Office' and foundations


bar scale of 1/4 inch to 1 foot


labelled: Yard, Mrs Wagner, Kitchen / Mrs Wagner, Lumber Room / Mrs Wagner, Bishops Waiting / Room, Hall, Bishops Servants / Room, (pencil) ?Mr Kitchen / (Vote Office) / Furniture, Area, Washouse / Mrs W, Cellar, Coal Cellar, Servants Hall, Area, (pencil) Framing 4.9 high and (pencil) some dimensions given

Medium and dimensions

Pen, pencil, sepia, pink and blue washes, pricked for transfer on wove paper (523 x 727)


Soane Office


Smith & Allnutt 1820


The new committee rooms are located in the place of the old committee rooms and, in this design, retain part of the wall of the old buildings on the west side. There is a narrow yard between the committee rooms and the Royal Gallery to the east. The largest room at basement level, labelled in pencil as the 'Vote Office', has a vaulted ceiling consisting of four shallow brick arches springing from iron columns, of which there are six in total. Elsewhere Soane employed brick arched ceilings as a fireproofing measure - at the Bank of England and the New State Paper Office, for example. This may have been his motive here as well, since the Vote Office was responsible for supplying parliamentary and government documents to Members. The other rooms are service areas. In pencil, Soane experiments with different designs for staircases.



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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