Surveys of the rooms under the Painted Chamber, 30 March 1827

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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)
    - Additional drawings, surveys etc. (44)
      - Surveys of Guy Fawkes' Chamber, March 1827 (3)

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Reference number

SM volume 50/3-4

Purpose

Surveys of the rooms under the Painted Chamber, 30 March 1827

Aspect

Plan of Rooms under / the Painted Chamber with (pencil) elevation of a chimneypiece and a round window (labelled 'C'), Section shewing Side A and Section shewing Side B

Inscribed

as above, labelled: Beam (twice), A, B, C, D, (pencil) Partition, Brick / Pavement, Brick, Stone Pavement, Ceiling / gone, Brick, Door, B (twice), Elevation / C, Beam, Ceiling / taken away, This room / had a plaster / Ceiling but / it is now / taken down, somewhat / similar / to B / only larger / & filled in / with stone, Brick, old / stone and dimensions given

Signed and dated

30 March 1827
CJR / March 30 1827

Medium and dimensions

Pen, pencil, sepia, pink and blue washes on wove paper (in sketchbook) (each page 280 x 214)

Hand

Charles James Richardson (1806 - 1871)
Pupil February 1824 - January 1827.

Notes

The "Section shewing Side A" shows the height of the ceiling in the room under the Painted Chamber to be 8 feet. The plan shows that this room is, in fact, one of several subterranean rooms, several of which have had their ceilings taken down. The spiral staircase in Guy Fawkes' Tower is at the bottom left of the plan. A copy of the plan is reproduced in H. Colvin, "Views of the Old Palace of Westminster", Architectural History, 9, 1966, fig. 104.

Level

Drawing

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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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