Sir John Soane's Museum
⭐ Highligts
Picture Room Reveal
Art gallery that folds like a cabinetHinged screens multiply the wall surface so Soane could hang a major collection in a tiny room—Hogarth’s ‘A Rake’s Progress’ hides here.
📍 No. 13, ground floor
Sarcophagus of Seti I
Egyptian masterpiece in a London townhouseCarved from luminous calcite (c. 1270 BCE), it was refused by the British Museum; Soane bought it in 1824 and held candlelit parties for London to marvel.
📍 Crypt level, Dome area
Light Wells & Mirrors
Architecture as optical instrumentShallow domes, mirrored reveals and colored glass pull daylight deep into the plan—Victorian eco-tech before the name existed.
📍 Throughout—Breakfast Room, Dome, Monk’s Parlour
Models & Fragments
A school for architects, in miniatureCasts from antiquity and models of Soane’s own works (including the lost Bank of England) turn the house into a 3D reference library.
📍 Model Room & Staircase voids
Hogarth’s London
Satire as urban x-rayHogarth’s ‘A Rake’s Progress’ skewers 18th-century vice and fashion; Soane hung it to warn students that taste and character are part of architecture.
📍 Picture Room
Opening Hours
🤓 Fun Facts
Soane secured an Act of Parliament (1833) to preserve his house ‘as is’ after his death—arguably the world’s first purpose-made house-museum law.
The British Museum turned down Seti I’s sarcophagus; Soane bought it and hosted three candlelit ‘Sarcophagus Parties’ in 1825 that drew London society in droves.
Labels are scarce on purpose—Soane wanted architects to ‘learn by looking’ and compare objects across sightlines, not by reading long texts.
He was the son of a bricklayer and rose to design the Bank of England—his lost banking halls survive here as models and fragments.
The Picture Room hangs more than 80 works in a space smaller than a modern studio flat—thanks to double-hinged screens that create four ‘phantom’ walls.
