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image SM 53/3/1

Reference number

SM 53/3/1


[306] Alternative design, 25 - 27 April 1825


Section through the main (ground) floor of the Court of King's Bench, looking east, with demi-variant design for the lower level of the Court, including the panelled tribunal toped with pedimental twin volutes, with the channelled rustication of the former broken by three square-headed openings of equal size with architrave mouldings, and the central opening is topped by a projecting cornice borne by volutes, not as executed


bar scale of 1/11 inch to 1 foot


Design of the Court of King's Bench. / Section looking East.

Signed and dated

  • 25/04/1825 - 27/04/1825
    L[incoln's]. I[nn]. F[ields] / April 1825.

Medium and dimensions

Pencil, coloured washes of pink, ochre and brown, pen, pricked for transfer on wove paper (260 x 360)


George Bailey (1792 - 1860), draughtsman
The Day Book entry for 25 April 1825 notes that George Bailey was About Plans & Scetions of the / Court of Kings Bench.
Possibly Stephen Burchell (1806 - c.1843), draughtsman
The drawing itself is endorsed April 1825. The Day Book entries specificially refer to sections of the Court of King's Bench on 25 April, drawn by George Bailey and on 27 April, drawn by Stephen Burchell. The latter entry clearly relates to SM 53/3/1. Du Prey associates this drawing with Charles Richardson.


A variant proposal for the treatment of the lower part of the east wall, omitting the tribunal, is shown in SM 35/3/2.


Du Prey, 'Catalogues of Architectural Drawings: Sir John Soane', 1985: p. 95.



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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