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Reference number

SM 6/3/1


[10 ] Rough design for plan of alterations and additions to the ground floor rooms


Unfinished plan of house and offices with Soane's roughed- in alterations and (Soane) rough plan of entrance of entrance (verso) Chamber Plan of the House (a copy of drawing [5])


to a scale of 1/15 inch to 1 foot; (verso) to a scale of 1/7 inch to 1 foot


Earl Poullet and Sketch of a design for the proposed Alterations and Additions at Hinton St George, door, the rough plan of the entrance labelled: Hall and equal (3 times) (verso) as above, Earl Poullet, Hinton St George and vertical dimensions given

Signed and dated

  • 1797 (verso) Copy Aug: 1796
  • May 1797

Medium and dimensions

Pen and sepia wash, added brown pen on coarse wove paper with two fold marks (641 x 504) (verso) pen and light (faded) red wash


Thomas Jeans (c.1775-1866), pupil August 1792-25 August 1797 with additions (brown pen) by Soane


Soane had drawn-in over a general plan of the house and offices a design for a new entrance on a segmental plan and the re-shaping of the reception rooms shown on drawing [9] dated 15 October 1796. It seems that [10] should precede [9] but nevertheless it is dated 1797.
There is an interior perspective of the Saloon in the British architectural drawings collection of Yale University, U.S.A.(copy in SM files) which shows a canopy domed ceiling with a circular lantern. This may relate to Soane's sketchy plan of the Saloon in the drawing catalogued here and also drawing [9]. See drawings [12] and [14] for alternative ceiling designs.



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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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