Here we see Thornhill working in a much rougher manner as he attempts to resolve this important terminal element of the composition. While there are differences in detail from the finally executed version, this drawing is very close to it in overall conception. The stern of the British warship here is slightly turned to the left, whereas it is square-on in the ceiling. A British man of war (the 'Blenheim') is filled with spoils and trophies while Victory hovers overhead holding captured French colours. Beneath the stern of the ship sits a figure representing the City of London, supported by the rivers Thames and Isis. As finally executed, the rainbow shape on the right became a shaft of light.

The placing of the 'Blenheim', above the proscenium to the Upper Hall with its carved and gilded royal coat of arms (provided in autumn 1707 by Robert Jones), makes the Lower Hall ceiling as much a celebration of Britain's naval prowess and commercial strength as it is a tribute to the William and Mary. the contemporary viewer was being encouraged to make a link between the 'Glorious Revolution' and the nation's subsequent prosperity.

Adhered overall to a blue wove backing with a black ink line border. Collector's mark lower left: VH (J. Van Haecken); Sr JR (Sir Joshua Reynolds), RMW (Sir Robert Witt). On the reverse of mount: Dr Barry Deluny (272 at BD's sale, 1747).