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image SM Vol 48/41

Reference number

SM Vol 48/41


[51] Survey, Court of Equity, 28 March 1823


Interior perspective of the main (first) floor of the Court of Equity, with furnishings, looking north


to a rough scale


View of the Court of Equity. / A / B[lack] (x 6) / Blue (x 2) / green (x 2) / matting / white (x 3) / yellow / 1 2 8 dimensions given

Signed and dated

  • 28/03/1823
    28th. March / 1823.

Medium and dimensions

Pencil, wash, colour washes of raw umber, green and blue, on wove paper bound in volume (271 x 211)


Attributed to Arthur Patrick Mee (1802 - 1868), draughtsman
The sheet has a curatorial annotation attributing this perspective to Arthur Mee.


Correspodning sections through the Court of Equity are given in SM Vol 48/17 - 19; the latter including the three arches of the of Court's north wall. A detail of the buttress corbel is given in SM Vol 48/38. This perspective corresponds closely with that included in John Buckler's survey of 1822, though this drawing omits any Court furnishings (reproduced in Colvin, 1966, p. 37, fig. 60). There appears to be a copy of this drawing, annotated in a different hand, and dated to circa 1820 by Colvin (see Colvin, 1966, p. 37, fig. 59). A now lost exterior view of the Court, attributed to William Capon and dated 1806, is reproduced in Colvin, 1966, p. 37, fig. 58.



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.

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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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