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  • image Image 1 for SM 36/3/11
  • image Image 2 for SM 36/3/11
  • image Image 1 for SM 36/3/11
  • image Image 2 for SM 36/3/11

Reference number

SM 36/3/11


[1] Survey drawing of the ceiling, February 1829


Plan of the ceiling; (verso) rough section through the main hall looking south


(recto and verso) bar scales of 2/9 inch to 1 foot


Whitehall Chapel, (very feint pencil, 8 times) Paintings, Line of the Gallery, Line of Pews, Pulpit, ---- (illegible - ?Dock), Altar, Line of Gallery and dimensions given; (verso) dimensions given

Signed and dated

  • 26/02/1829
    26 Feb 1829

Medium and dimensions

Pen, pink and light sepia washes, (verso: pencil and pen), pricked for transfer on wove paper with two fold marks (531 x 659)


unattributed (nothing in Day Books)




SM 36/3/11 shows the compartmentalised ceiling of the Banqueting House in plan and in section looking east and, in pink wash, the layout of the altar, pulpit and pews, the intermediary gallery and the 'line of the gallery'. The room is a double cube measuring (according to Soane's dimensions) 55' 2'' by 111' 5½'' by 55' (verso). In each of the ceiling compartments is inscribed 'paintings' in very feint pencil. These were the canvases by Rubens that were removed and repaired during the course of the restoration work. Although taken down between 1829 and 1831, the decision to restore the paintings was not taken until late in 1831 which delayed the completion of the works. The paintings were restored by 'Mr Sieguer' - that is, John Seguier (1785-1856), artist and restorer.

The section on the verso of the drawing can be identified as looking south due to the round-headed window in the upper part of the hall.





Digitisation of the Drawings Collection has been made possible through the generosity of the Leon Levy Foundation

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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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