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image SM 6/3/10

Reference number

SM 6/3/10

Purpose

[2] Survey plan of ground floor with sectional lines marked

Aspect

Plan of the Ground Floor

Scale

bar scale of 1/15 inch to 1 foot

Inscribed

as above, Earl Poulett Hinton St George, Sketch of the Ground Floor, rooms labelled: Dining Room, Lobby, Drawing Room, Chapel, Beer Cellar (twice), Servants Hall Court, Servants Hall, Cyder Cellar (twice), Billet Wood, Ashes, Charcoal, Wood, Cooperage, Potatoe Room &c, Court, Porters Hall (twice), Passage (twice)Kitchen, Scullery, Bakehouse, Brewhouse, Drying Yard, Store Room, Distill: House, Salting Room, Cheese / Room, Bason House, Cooks Court, Pastry,Ovens, Lamp Room, Powdering Room, Store Room, Mr Beagley's Room, Butlers / Pantry, Inner Pantry, Steward's Room, Store Room, Passage, Housekeeper's / Room, Store Room, Still Room, Still Court, Steward's / Office, Entrance, Washouse, Land Steward's / Office, Dairy, Milk House and A higher than B2'4" / B higher than C 2'6" / C higher than B 2'4" and running dimensions given

Signed and dated

August

Medium and dimensions

Pen and sepia washes on coarse laid paper with six fold marks (563 x 664)

Hand

Thomas Jeans (c.1775-1866), pupil August 1792-25 August 1797.
The Soane office Day Book for 1796 shows that Thomas Jeans left London on the morning of 5 August 1796 to take plans of Hinton St George. He returned on the evening of 27 August. He then spent much of the time between 29 August and 12 September drawing out plans, elevations and sections. The expenses of his trip came to £4:17:9d for which Earl Poulett was billed on 19 September 1796.

Notes

A neat re-drawing of drawing [1] with sectional lines added. For sections see drawing [8].

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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