bar scale of 1/10 inch to 1 foot
General Plan of the New Law Courts at Westminster, on the level of the One Pair Floor. / (as designed) / Westminster Hall. / Room for / Solicitors, / Clients &c. / Upper part / of the / Bail Court. / Area. (x 6) / Upper part of the / Court of Kings Bench. / curtain (x 9) / Staircase / Law Library &c. / Counsel. / Upper part of the / Court of Exchequer. / Upper part of the / Court of Equity. / Retiring Room / for Jury. / Prison / Room. / Secondaries / Upper Part of the / Court of Common Pleas / Court Keeper / Court of Common Pleas / Upper part of the / Vice Chancellors Court. / Upper part of the / Court of Chancery.
Signed and dated
- 01/01/1824 - 31/12/1824
Medium and dimensions
Pencil, wash, coloured washes including buff, pink, ochre and blue and pen within quadruple ruled wash border pricked for transfer on wove paper (621 x 445)
Rough plans and elevation in pencil, perhaps for a skylight.
J Whatman / 1822
There are substantial erasures and redrawing for the Court of King's Bench and its adjacent accommodation. The lead roofs beneath this level are indicated in a dark blue; the skylights themselves washed in a grey-blue, and the raised coping between the roofs in buff. The curtains recorded here were intended to be hung as shown in drawings SM Vol 61/48 and SM Vol 61/49.
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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