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  • image SM 6/3/11

Reference number

SM 6/3/11


[8] Survey sections


N/S Section on the Line A B (on Plan of Ground Floor) through, for example, the octagonal cellar; N/S Section on the Line C D through the west wing, that is the Still Court and Drying Yard; Section on the Line E F through the Hall, Saloon and Chapel; N/S Section on the line G H through the east side of the house, that is the Drawing room, Chapel, Servants Hall and Court




as above, Earl Poulett, Hinton St George, Ground, Drying Ground, Passage, Pastry Oven, Stairase, Passage (3 times), Lord Hinton's / Room, Anti Room, Mr Beagly's Room, Hall, Beer Cellar, Staircase, Saloon, Staircase, Chapel and vertical dimensions given

Signed and dated

  • 12/9/1796
    Sepr 12 1796

Medium and dimensions

Pen and sepia wash on coarse wove paper with three fold marks (673 x 525)


Thomas Jeans (c.1775 -1866), pupil August 1792-25 August 1797.
The Soane office Day Book for 1796 shows that Thomas Jeans left London on the morning of 5 August 1796 to take plans of Hinton St George. He returned on the evening of 27 August. He then spent much of the time between 29 August and 12 September drawing out plans, elevations and sections. For example, the office Day Book shows him drawing sections on the 6th and 8th of September. The expenses of his trip came to £4:17:9d for which Earl Paulett was billed on 19 September 1796.


The sections, which run North to South show, for example, the varying floor levels and heights of buildings that were erected at different times - and for different purposes. The south-west ranges were removed in c.1788 and the ground level raised by the height of a full storey. (J.Orback and N.Pevsner, Somerset: South and West, 2014, p.363)



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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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