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  • image SM 56/9/9

Reference number

SM 56/9/9

Purpose

[3] Design for additions to the basement, 1828

Aspect

Plan of the Basement Story of the / Additional Buildings No 1

Scale

bar scales of ¼ inch to 1 foot

Inscribed

As above, Bank of England Branch Gloucester, labelled: A, A, B, C, D, line of the present wall, Well, 15'.0 on the ground floor, present wall of Cottage, Memo Pepper (J.Pepper, surveyor see drawing 11) says / The force Pump is fixed / in the scullery at A & the / Pipe which supplies the / Cistern supplies the / Cistern of the Water Closet / passes up the angle of the / Sculery (sic) and behind the / Skirting of the Chamber Floor, The work to be set out so as to leave / a thickness of 9 Inches for the new wall / on the ground floor at A and 1.1½ at B / Keeping the face of the new wall in / straight line which must / ------ (illegible) before D as much as may / be request (sic) and some dimensions give

Signed and dated

  • L I F / 12th June 1828 (4) Decr 1828

Medium and dimensions

Pen, pink and sepia washes, pricked for transfer on stout wove paper (730 x 540)

Hand

Soane office (nothing in Day Book)

Watermark

Smith & Allnutt 1827

Notes

Pink wash defines the proposed new work to the rear of the property that includes a new cess pool and well.

This plan shows some variation to other plans for this building, so that, for example, this drawing has two rectangular 'area[s] with iron grating over' (each in front of a window) that are bow-shaped in drawing 2 (SM 56/9/8) and not present in drawing 1 (SM 56/9/13).

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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