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image SM Vol 48/40

Reference number

SM Vol 48/40


[92] Survey, Court of Exchequer, 27 March 1823


Elevation of a clock on the main (first) floor of the Court of Exchequer


to a rough scale


Elevation of a Clock in the Court of Exchequer / Line of Cornice

Signed and dated

  • 27/03/1823
    27th. March 1823

Medium and dimensions

Pencil, pen, on wove paper bound in volume (211 x 271)


Arthur Patrick Mee (1802 - 1868), draughtsman
The Day Book entry for 27 March 1823 notes that Arthur Mee was Making drawings of the Court / of Exchequer at Westminster.


The clock shown in this drawing was placed above the cornice on the eastern wall of the Court of Exchequer. It is shown in position in SM Vol 48/43. The latter drawing indicates it was surrounded by a raised square area of plaster topped by a pediment. The rectangular pendulum case was supported on a moulded bracket, with an oculus for viewing the pendulum, supporting carved foliage fronds on either side. The dial was enclosed in a moulded frame, carrying three flaming urns, rising to a semi-circular tympanum over the centre. This drawing makes clear it is the work of a London clock maker, and on stylistic grounds appears to date from the later seventeenth century. The mechanism was presumably wound from the Record room above the eastern part of the Courtroom.



Digitisation of the Drawings Collection has been made possible through the generosity of the Leon Levy Foundation. This catalogue of Soane’s designs for the New Law Courts was generously funded by The Worshipful Company of Mercers and The Pilgrim Trust.

If you have any further information about this object, please contact us: drawings@soane.org.uk

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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