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  • image SM 35/3/45

Reference number

SM 35/3/45


[39] Designs for the saloon


Plan & Section of Saloon with detail of shallow arch


bar scale of 1/4 inch to 1 foot


as above, John Thomson Esqre / Roehampton, Plan of Saloon and some dimensions given

Medium and dimensions

Pen, sepia wash over light red wash on laid paper (560 x 685)


Soane office hand


Drawing [22] is the plan of the house (q.v.) before Soane's interventions. It shows the saloon, at the heart of the house, measuring 33 feet 4½ inches by 21 feet 7½ inches and with five windows looking out on to the lawn. Soane's remodelling of the saloon included two curved walls and one large window (12 feet wide and 11 feet 10 inches high). As before, entry to the verandah and thence to the garden was via the eating room and library on either side of the saloon.
The new shutters were for a circular window on either side of the large (fixed) window, each measuring 3 feet 6 inches across and placed 2 feet 8½ inches plus above floor level.

There is a single drawing for Cedar House in the Collection of the Victoria and Albert Museum (photograph of it in Soane Museum green box files under Roehampton). The drawing is inscribed 'Salon John Thomson Esq. 1808' and that date is later than any of the Soane Museum drawings. The perspective shows the large window which now looks as though it opens on to the verandah outside. This French window has a curtain carefully draped across the top and sides. On each side of the large window is a tall niche with a sculpted figure, two chimeypieces face each other across the room. It seems very likley that this is the executed design or something very close to it. (see Pierre de la Ruffiniere du Prey, Catalogues of architectural drawings in the Victoria and Albert Museum, Sir John Soane, 1985, p.219)



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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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