ALT A panoramic view of Sir John Soane's Drawing Office. Desks run down either side of the space, decorated with architectural models. Photo: Gareth Gardner.

ALT A view of the Dome area of the Museum in the last of the day light. Much of the Colonnade beyond is in darkness, but the toplighting from the skylights above highlights the bust of Soane, the Drawing Office above, and architectural casts high on the walls to either side.

ALT Sir Christopher Wren's pocket watch, made of finely chased brass with a silver dial and outer case.

ALT A 3D-scanned section of Sir John Soane's Museum, focusing on the central stairwell of no. 13 Lincoln's Inn Fields, which stretches from the roof to the basement level, allowing light to pass down through the building.

ALT A 3D scan of the Picture Room.

ALT A view of Sir John Soane's drawing office. The far wall is covered in casts of architectural features, lit from a skylight in the roof. The foreground is dominated by a room-length wooden desk, atop which sit architectural models in glass cases.

ALT A view from the roof of no 13 Lincoln's Inn Fields, looking down across the roofes of the Museum that runs across the back of the houses. An abseiling man in a blue helmet is one storey below, inspecting a pane of broken glass.

ALT Sir John Soane's Drawing Office, with walls covered in casts of architectural features and antiquities. Photo by Gareth Gardner.

ALT The Time Capsule as found, within the base of a column. The items are grouped together deliberately, and have become covered with dust and dirt over time.

ALT A drawing of the Soane family tomb in the churchyard of Old St. Pancreas Church.

ALT A K2 red telephone box in London.

ALT The east wall of the Picture Room, featuring many works in golden frames, centred around a large Canaletto view of Venice hung above the white marble fireplace. To the left and right of the fireplace are positioned two antique ivory chairs.

ALT A view through the Picture Room planes into the Nymph's Recess. The statue of the nymph is positioned above a model of Soane's design for the frontage of the Bank of England.

ALT A view of the Dome area of Sir John Soane's Museum, showing walls covered in casts of architectural fragments and a large statue of Apollo Belvedere, stood beneath the warm-coloured glass of his recess.

ALT Architect Peter Barber stands in the South Drawing Room of Sir John Soane's Museum.

ALT A grand and opulent temporary 'temple' in Green Park, built in 1814 as the centrepiece of celebrations marking the supposed end of the Napoleonic Wars. In the foreground, a crowd of Londoners watch the fireworks.

ALT A view looking upwards towards the colourful glass of the skylight in Soane's Museum Corridor. The walls, adorned with casts of ancient architectural features, are cast in warm sunshine.

ALT The Arch of Constantine today, as seen from the Colosseum, surrounded by visitors from around the world.

ALT The central table of Sir John Soane's Model Room, with a detailed arrangement of architectural models, including a large topographical model of Pompeii and, in the foreground, the imagined reconstruction of the ruined Temple of Vesta in Rome.

ALT The north west corner of the Drawing Office, walls covered in architectural casts, above the desks where our new Artist-in-Residence will work.

ALT The west wall of the Drawing Office. To the right, a model of Lothbury Court in Soane's Bank of England. Ahead, a set of casts of classical architectural detailing. An apeture allows a view into the Museum's Dome area beyond.

ALT A drawing showing a fantastical expansion of Soane's Picture Room, with high walls stacked with paintings and models of his architectural designs.

ALT Will Gompertz, wearing thick-rimmed glasses and a black cardigan over a blue shirt, stands in front of the Canaletto view of Venice in Sir John Soane's Museum's Picture Room.

ALT A bird's eye view of the staircase at the heart of no. 13 Lincoln's Inn Fields, taken from the third floor. A red and gold carpet runs down the full staircase and on the westerly wall hang framed architectural drawings and sketches of Shakespeare characters.

ALT Stained glass in the window of Sir John Soane's Private Apartments, with the snow-covered trees of Lincoln's Inn Fields beyond the window.

ALT One of the Soane's twin caryatids in profile, looking out over the Fields.

ALT A feature of the Museum frontage, topped with snow.

ALT The view from the table of Eliza Soane's Morning Room. A warm light emmanates from a lamp on the table, and a caryatid can be seen through the window.

ALT A view of a London street, focused on a Georgian townhouse illuminated by hundreds of candles and oil lamps. The street below is full of onlookers.

ALT A detail of the crowd observing the illumination. Oil lamps hang from the houses along the street, lighting the crowd below. Horse-drawn carriages cut through the chaos, looking for the best view.

ALT A lamp illuminates Eliza Soane's morning room - a delicate table and chairs at the centre, the walls decorated with paintings and engravings in golden frames, which glow in the lamplight.

ALT A close-up of the hierogylphics on the Sarcophagus of Seti I, illuminated by lamps within the coffin.

ALT The Sarcophagus of Seti I in the Sepulchral Chamber of Sir John Soane's Museum. Warm light spills out from within the Sarcophagus, illuminating the room above.

ALT The landing and staircase of no. 13 Lincoln's Inn Fields, decorated with framed drawings and portraits, and a bust of Wlliam Pitt. The afternoon sun bounces off the curved far wall of the staircase. Photo by Alixe Lay.

ALT An illustration of the Breakfast Room of no. 13 Lincoln's Inn Fields, as it was in Soane's time. Beneath the central dome, a simple wooden table with a green sheet. The walls are adorned with paintings and bookshelves.

ALT An illustration of the Library-Dining Room at no. 13 Lincoln's Inn Fields, as it was during Soane's time. The walls are a deep, rich red. Architectural drawings of the Soane family tomb are on a table nearby. On the far wall, windows offer views into Lincoln's Inn Fields.

ALT An elevation view of the design for a sepulchral chapel, intended for the grounds of Tyringham Hall. Visitors explore the grounds nearby and stand beneath the grand portico to the chapel's front.

ALT A perspective view inside from inside one of the three chapels within the proposed structure, featuring a family looking out into the central domed nave, where a preist delivers a sermon from a hooded pulpit.

ALT The frontage of Sir John Soane's Museum at night, with the projecting facade of no. 13 illuminated by overlapping architectural patterns in red and blue light.

ALT A caryatid, high on the facade of no. 13, lit by a rich red light modelled on a Greek key pattern.

ALT A perspective view of the facade of no. 13 Lincoln's Inn Fields, illuminated in a red-orange light, patterned with an off-centre drawing inspired by the glazed windows of the South Drawing Room.

ALT Florence Welch sat in the Library-Dining Room, in front of the Astronomical Clock.

ALT An output monitor displays the different angles on the interview between Florence Welch and Anthony Mason as it is filmed in the Library-Dining Room.

ALT Anthony Mason and Florence Welch conduct their interview in the Library-Dining Room.

ALT With a canvas on an easel, Mellissa paints the frontage of the Soane from the vantage point of the pavement opposite the Museum.

ALT A watercolour view of the Dome area at Sir John Soane's Museum, as seen in 1811. The walls are decorated in all directions with architectural casts and antiquities, and Sir John Soane himself stands to the right, gesturing to his collection.

ALT Details of the northern wall of the Drawing Office; a tightly packed display of architectural casts and features, hung together against a white-grey background. Highlights include the cast of a classical male face, and the 'head' of a Griffin.

ALT The south-western corner of the Drawing Office. On the dark wood desk in the foreground, a model from Soane's work at the Bank of England sits in a glass case.

ALT High up on the wall, beneath the skylights on the north-western corner of the Office - an array of decorative architectural casts, in a variety of sizes, mostly with floral detailing.

ALT A portrait of Sir John Soane in a large golden frame, hung above the fireplace of the Library-Dining Room in no. 13 Lincoln's Inn Fields.

ALT A watercolour of the Dome area of the Museum, facing south. To the right, the cast of Apollo Belvedere stands prominently on a plinth, and above is the original 'Dome', complete with circle of busts.

ALT A watercolour of an early iteration of Soane's Picture Room, which made use of the same picture 'planes' system for concealing additional works as the latter Picture Room, which was built in 1824.

ALT A watercolour view of the southerly side of the Colonnade, facing east. Architectural casts and busts are positioned around and above, with a clear line of site through to a vase and mirror on the far east wall of the Dome area.

ALT A 3D-scanned view of the Drawing Office, as seen from the top of the stairs facing west. Architectural models line the desks to the left and right.

ALT A scanned 'cut through' of the Office and the ground floor below, showing the walls covered in architectural casts at both levels, with the skylights high above.

ALT The orange-tinted glass skylight of the Apollo Recess at Sir John Soane's Museum, illuminated from above my strong afternoon sun.

ALT Warm sunlight falls upon two objects in the Dome area of the Museum - a small cinerary tomb and a cast of the face of an ancient figure.

ALT Sunlight illuminates the east wall of the Museum corridor, where many architectural casts are hung. At the centre, a cast of a fragment of a chariot with floral detailing, which hangs above the door to Soane's Picture Room.

ALT The cast of Apollo Belvedere stands beneath the orange light of the Apollo Recess in the Dome area of Sir John Soane's Museum.

ALT A 1930s-style poster declaring 'Here is SIr John Soane's Museum, within his own house, built in 1812', finishing 'NOW OPEN'. A picture of a bust of Soane, flanked by the years of his life (1753 - 1837) sits at the top of the poster.

ALT Three conservators hold a large architectural cast in place as it is affixed to the wall.

ALT Two conservators hold a decorative rectangular cast.

ALT Two conservators - one atop a ladder from the crypt level below - re-install a statue of Rafael on a bracket flanking the bust of John Soane in the Dome area.

ALT A conservator, standing atop a ladder, fixes a wooden dowel to the bracket where the Rafael statue will be positioned.

ALT The twin statues of Michelangelo and Rafael, cleaned and returned to their position in the Dome.

ALT A Drawing Room at Pitzhanger with a domed roof and details similar to the Breakfast Room at no. 13 Lincoln's Inn Fields. At the far window in the next room, a woman sits at a table and reads.

ALT A Drawing Room at Pitzhanger with a domed roof and details similar to the Breakfast Room at no. 12 Lincoln's Inn Fields. At the far window in the next room, a woman stands with a candle.

ALT The facade of Sir John Soane's Museum in 1837, with groups of visiting ladies and gentlemen in contemporary dress gathering excitedly outside.

ALT The Dome area of Sir John Soane's Museum, with its many busts, urns and architectural casts arranged around the Sarcophagus of Seti I below.

ALT A detail of the facade drawing of the Museum from 1837, showing a lady wearing a bonnet and grand dress, arm in arm with a top-hatted gentleman, as they approach the front door of no. 13 Lincoln's Inn Fields.