A fully worked-up design, probably for presentation, in the general final format but with considerable differences from that executed. The west end is to the right, east to the left. The latter, for example, does not appear to contain the identifiable historical figures of Copernicus, Tycho Brahe, and John Flamsteed, all finally included. The relationship between oval frame and arches is better resolved than in other drawings for this ceiling design and the ceiling now appears as a single unified arc. The familair figures of Time bringing Truth and Architecture holding a drawing of part of the unfinished Hospital make their first appearance here. However, William remains consortless and there is no sign of Apollo.

The collonaded building in the backdrop was eventually dropped from the Lower Hall scheme, migrating, along with thefigure holding the pyramid (symbolizing the stability of a regime), to thee west wall of the Upper Hall where it evolved into the drum and dome of St Paul's Cathedral.

Outside the margin's of the drawing are discontinued horizontal lines, in bron ink. These may have served a purpose for future scaling or transfer. This drawing was one of three presented to Greenwich Hospital by James Stuart in 1781 and was exhibited in the Naval Gallery which occupied the Painted Hall in the nineteenth century.

According to the 1922 catalogue of the Naval Gallery in the Painted Hall of Greenwich Hospital, this drawing was presented to the Hospital by James 'Athenian' Stuart in 1781. It was listed as on display in the 1893 and 1876 catalogues of the Royal Naval Museum.

Related designs for the ceiling oval are in the British Museum collection (BM 1884,0726.40.66 (fol. 66v of sketchbook 1884,0726.40.1-147); BM 1884,0726.40.65 (fol. 65v of sketchbook 1884,0726.40.1-147); BM 1884,0726.40.61 (fol. 61r of sketchbook 1884,0726.40.1-147), the Courtauld Gallery, London CG D.1952.RW.2250, and the Victoria and Albert Museum V&A 812-1877.