not to scale
Parts of the North Front / of Westminster Hall. / Mouldings of the / lowest Base of the / Hall. / Line of the bottom of the Plinth / Window / False / Window / in the / side / Mouldings of large / Mouldings of / the highest Cornice / 7 Heads in / the side, Mouldings of / Middle Cornice, No. heads / Mouldings of / the lowest cornice. / No heads / Mouldings of small dimensions given
Signed and dated
The date occurs on the adjacent leaf (see SM Vol 54/14) and has been erased and overwritten at the right-hand corner of this drawing.
Medium and dimensions
Pencil, on wove paper bound in volume (211 x 281)
Stephen Burchell (1806 - c.1843), draughtsman
The Day Book entry for 24 April 1824 records that Stephen Burchell was engaged in Sketching parts of Westminster Hall.
This series of survey drawings (SM Vol 54/13 - 16; 18 - 19) may have been prepared in response to the Select Committee's criticism of the New Law Courts, and their junction with the north façade of Westminster Hall. The false or blind window is located on the second storey of the north-west tower's western face, immediately adjacent to the junction between the Hall and Soane's Court of King's Bench.
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.
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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