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image Image 1 for SM 6/3/5
image Image 2 for SM 6/3/5
  • image Image 1 for SM 6/3/5
  • image Image 2 for SM 6/3/5

Reference number

SM 6/3/5

Purpose

[5] Survey plan of the chamber floor of the house

Aspect

Chamber Plan of the old House and (verso) unfinished pencil perspective of a design with a two-storey bow to the re-clad south front and four giant columns to the west side which relates, more or less, to drawings [11]-[13]

Scale

to a scale

Inscribed

as above, Earl Poullet, Hinton St George, Skylight / Bath, Landing / 10.7 below / Top Landing, 2 Risers 6 each, 16' 7" in clear / 1' 2" joists, floor &c, Bookcase, Book, 10': 3" high / to top of Cove, 10:0 hight / to top of Cove, Risers up from the / floor 7" each, 4 Risers up / from this floor 6" each and with some floor to ceiling dimensions

Medium and dimensions

Pen and sepia wash on thin wove paper with three fold marks (547 x 673)

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

For a copy of this drawing see [10] verso.

Level

Drawing

Digitisation of the Drawings Collection has been made possible through the generosity of the Leon Levy Foundation

If you have any further information about this object, please contact us: drawings@soane.org.uk

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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