Working drawing for the timbers of the galleries

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Sir John Soane office drawings: the drawings of Sir John Soane and the office of Sir John Soane
- Office of Works
  - London: Palace of Westminster: designs for alterations and additions, 1793-1828 (499)
    - London: House of Lords, Palace of Westminster: alterations and additions, 1817-28 (220)
      - Alterations to the House of Lords to increase accommodation for the trial of Queen Caroline, 1820 (16)
        Working drawings for the galleries, July 1820

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Reference number

SM 77/2/39

Purpose

Working drawing for the timbers of the galleries

Aspect

House of Lords / Plan shewing the Timbers of the Floors / of the proposed Galleries

Scale

(pencil) bar scale of 6/20 inch to 1 foot

Inscribed

as above, labelled: Ch^y (3 times), Bar, Steps to Gallery, Gallery A, a, b, a 1'1'' above b, 18 Risers to rise / 11'6'', Gallery B, Stairs to Gallery and some dimensions given; steps numbered: 1-16 (twice) and 1-18

Signed and dated

28 July 1820
July 28^th 1820

Medium and dimensions

Pen, pencil, sepia, yellow and yellow ochre washes, pricked for transfer on wove paper (535 x 743)

Hand

George Bailey (1792 - 1860)
Pupil and assistant August 1806 - January 1837.

Watermark

Smith & Allnutt 1817

Notes

As well as the iron columns, the galleries are also supported by iron straps incorporated into the timber framing. The pencil lines on the floor of the House presumably relate to a heating system. Improvements to the ventilation of the House cost around £600 (King's Works, VI, p. 520).

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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