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  • image SM 29/4A/8

Reference number

SM 29/4A/8


[4] Revised design, Ground floor plan and front elevation, July 1789


Ground floor plan and front elevation


pricked through bar scale of 1/6 inch to one foot


Covered with glazed tiles (of roof), Ped[imen]t Pitch, Chamber floor of House, Hall floor (3 times), Floor of Kitchen, Floor of Rooms over Laundry, Garrets over Kitchen, Staircase / to Garret, Place this Ch[imne]y as in / other Pl (?), Steps to Nursery over Laundry, A. to B. put the Steps here so / as to make the Passage / level with the floor of / Kitchen, Omit this, A Garret over / this Staircase, dimensions given, many calculations (some in pencil) and Mr Collyer

Signed and dated

  • July 1789
    July / 1789

Medium and dimensions

Pen, light red and sepia washes, pencil, pricked for transfer on cartridge paper with one fold mark (635 x 522)


SOANE, Sir John (1754--1837), architect


The design is for the new house with three reception rooms, entrance lobby and two staircases, and for the adjacent parts of the re-modelled offices to the rear; all close to the design shown in drawings 2 and 3 but with some amendments and more fully worked out. The elevation varies from those shown on drawings 2 and 3; it is astylar with a four-column portico with a semicircular-headed window to each side and with three, amended to five, windows to the upper storey.

The inscription 'covered with glazed tiles' on drawing 4 might indicate Soane's use of the black-glazed, S-shaped pantiles produced in Norfolk from the mid-18th century. Their use may have been suggested by the roof of the existing building re-modelled as offices. Ptolemy Dean's photograph (p.181, Sir John Soane and the country estate, 1999) shows a pantiled roof on the north front.



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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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