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  • image SM 2/9/30

Reference number

SM 2/9/30


[32] Design drawing that includes an alternative staircase, August 1799


Plan of the chamber floor; rough plan of the secondary staircase; three unidentified rough plans; and six variant preliminary designs for the ground floor entrance hall


bar scale of 1/5 inch to 1 foot, approximately and plans ½ size


as above, The Right Honble William Pitt, stewards office, setwards Ch[amber], chamber, common / staircase, corridor, chamber, servants room, chamber, 2d dressing / room, 1st dressg / room, chamber, dressing room, water / closet, dressing room, landing of best / staircase, lobby, dressing / room, chamber, closet, closet, corridor, the lady's dressing room, chamber, dressing room, closet (twice), passage, chamber, corridor, water / closet, 1.1½, 9, (pencil) numbered 1 to 7, (feint pencil) 3 views, 7 ---- (illegible) and some dimensions given

Signed and dated

  • August 1799
    July 1799, datable to August 1799 (see Notes)

Medium and dimensions

Pen and grey and blue washes, pencil pricked for transfer within triple-ruled and black wash border on laid paper (685 x 475)


SOANE, Sir John (1754--1837), architect
Soane, Henry Hake Seward (1778-1848, pupil and assistant 1794-1808)
Seward, Henry Hake (1778--1848), draughtsman
Soane, Henry Hake Seward (1778-1848, pupil and assistant 1794-1808)


J Whatman 1794 and fleur-de-lis within crowned cartouch with W below


P. Dean, Sir John Soane and the country estate, 1999, pp. 176, 187-188, and P. Dean Sir John Soane and London, 2006, p. 239; J.P.W. Ehrman and A. Smith, 'Pitt, William', Oxford Dictionary of National Biography online (accessed July 2011).



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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