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  • image SM volume 111/28

Reference number

SM volume 111/28


Presentation design for the house (grand scheme)


2 Plan at raised ground-floor level


10 feet to 11/20 inches


By William Talman, in pencil, on plans of central and two right-hand rooms on upper (garden) front of plan, 35, 30, 22; and at bottom right, in pencil, with lozenge symbol; and on verso, in pencil, by William Talman, Duke of Newcastle, and below, by John Talman, plan to ye elevation mark'd [small triangle with circles at each apex, with triangle and asterisk below].

Signed and dated

  • c. 1702-03

Medium and dimensions

Pen and brown ink with dark grey wash, over pencil and incised lines, and with pencil additions; on laid paper, 262 x 399


William Talman


Strasbourg bend


This plan corresponds to the elevation at 3, below, but is drawn to less than half the scale and is for a slightly shorter frontage. The overall length is 247 feet compared with 253 feet for the elevation. The central pavilions in both designs are the same width (51 feet) but the intermediate walls and end pavilions are slightly less in this plan. Sketched amendments on the plan show Talman adding the outlines of a compartmented ceiling on the plan of the long hall to the left of the entrance hall, and two columns in front of the chimney-piece wall at the left end. This chimney-piece wall is sketched on the verso of the related block plan (111/29), at 4, below.



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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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