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  • image Image 1 for SM D1/12/56
  • image Image 2 for SM D1/12/56
  • image Image 1 for SM D1/12/56
  • image Image 2 for SM D1/12/56

Reference number

SM D1/12/56

Purpose

Coleorton, Leicestershire, 1802-08

Aspect

[162] Section of partition

Scale

1 in to 1 ft

Inscribed

(neat sloping office hand) Plan of Girders / and Quarter Partitions, labelled (carpenter) Girder to Roof, Girder to Floor, Cieling Line (twice) and dimensions given including (detail) 2¼ by 1..2

Signed and dated

  • 1802-08

Medium and dimensions

Pen, pencil on laid paper (850 x 670)

Hand

carpenter? (see [SM D1/12/58])

Watermark

D & C Blauw IV and D&CBxX in cartouche surmounted by fleur-de-lis

Notes

Verso
Elevation/section, sections and details of composite beam
Scale: 1 in to 1 ft and full size
Inscribed: Girder in the Center Flitches of Do..24FT..4ins Long 1Ft..2ins wide 2¼ins thick, labelled Thickness of Floor, Line of Cieling and dimensions given
Pen and yellow wash
David Yeomans (correspondence, 2 August 2001) wrote of the composite beam design 'This is the strangest thing that I have ever seen and there are some puzzles. What strikes me first is that it would be more obvious to make up something symmetrical ....' The unnecessary complexity of the design where, for example, 'the use of timbers 2¼ inches wide making the beam less than 7 x 14 inches when it should have been possible to find a timber that size' is not due to Dance since drawings [SM D1/12/58], [SM D1/12/59], [SM D1/12/57], [SM D1/12/60], [SM D1/12/56] and [SM D1/12/40] are not in his hand and are assumed to have been made by a carpenter.

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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