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  • image SM 66/5/11

Reference number

SM 66/5/11

Purpose

[145] Survey drawing, 17 July 1814

Aspect

Plan of the House appropriated to the Clerk of the Works, Chelsea Hospital (ground floor)

Scale

bar scale

Inscribed

as above, labelled Paradise Row, Breakfast / room, Stable Yard, House, Study, Court, Staircase, Bed / room, Stable. Harness / room, Coachouse, Eating Room, Drawing room, (red pen) wind[ow] (three times), Wall, Ch[imne]y, office / Study, new Ent[rance] and some dimensions given

Signed and dated

  • 17th July 1814

Hand

Soane office

Notes

This plan largely shows the house prior to Soane's alterations of 1814-15. However, an extra room has been added in red pen, projecting from the right-angle of the existing L-shaped layout of rooms and labelled as 'office'. There is also a 'new Ent[rance]' labelled, presumably added by Soane. It is evident from the plan, viewed alongside the elevation shown in SM volume 76/56, that private stables were attached to the house at this time - built to the right of the main house. Soane was to add his new wing on to this west side of the building, demolishing the row of 'Coachouse', 'Harness room' and 'Stable'. Perhaps the Clerk of Works' horses were housed in the main stables from then on. The old hospital Stables (although not seen on this plan) would have extended along Paradise Row to the east of the Clerk of Works' House (SM volume 76/56). The plan of the house is easily located, with the Infirmary (labelled) to the south and Paradise Row, to the north.

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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