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  • image Image 1 for SM 30/2/69
  • image Image 2 for SM 30/2/69
  • image Image 1 for SM 30/2/69
  • image Image 2 for SM 30/2/69

Reference number

SM 30/2/69


[160] Design for the interior of the entrance hall, 21 May 1798


Half cross Section of the new Entrance at Bentley Priory; rough detail of window architrave; rough section; (verso) south elevation of the entrance hall; detail of bracket over door


bar scale of 7/16 inch to 1 foot


as above, The Marquiss of Abercorn, springing of arch, dimensions given, (pencil) is this to be stone, to 11: 4½ on a sheet / of (?)cartridge paper; (verso) To Mr J. Pullinger clerk of the works / at the Marquiss of Abercorn's / Bentley Priory / Stanmore / Middx, Single Sheet

Signed and dated

  • 21 May 1798
    Lincolns Inn Fields May 21 1798

Medium and dimensions

Pencil, pen and grey and pink washes on laid paper with four fold marks (455 x 363)


Seward, Henry Hake (1778--1848), draughtsman
Henry Hake Seward (1778-1848, pupil and assistant 1794-1808)


I Taylor and horn within crowned cartouche and GR below


Drawing 160 shows Soane's alterations to the ceiling height in the rounded alcoves, lowering the ceiling so that a sight-line can be obtained from the centre of the entrance hall to the ceiling ornamentation. A figure measuring approximately 6 feet tall stands in the centre of the hall, a line drawn between his eyes and the ceiling.

The office Day Books record that Soane's pupil Seward made sections and elevations of the entrance hall on 19 and 21 May 1798.

Drawing 160 was sent to John Pullinger, the clerk of works at Bentley Priory. Pullinger was a master carpenter and clerk of works at various Soane buildings, including Aynhoe Park in 1799 (q.v.).



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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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