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image Image 1 for SM (4) 1/2/6 (5) 1/2/7
image Image 2 for SM (4) 1/2/6 (5) 1/2/7
  • image Image 1 for SM (4) 1/2/6 (5) 1/2/7
  • image Image 2 for SM (4) 1/2/6 (5) 1/2/7

Reference number

SM (4) 1/2/6 (5) 1/2/7

Purpose

Alternative designs for completing the Garden Court, May 1790 (2)

Aspect

4 Elevation and plan of a Design for finishing the Entrance Wall into Green Court 5 Elevation and plan of a (Bailey) Design for finishing the Eastside of the Green Court

Scale

(4-5) to a scale

Inscribed

4 as above, The Bank of England, and (in pencil by Arthur Bolton 1864-1945, curator 1917-45) evidently by John Soane 5 as above and (pencil, Bolton) John Soane

Signed and dated

(4) Albion Place. May 12th 1790 (5) May 1790

Hand

Soane office

Watermark

(4) Portal & Bridges and fleur-de-lis with GR below (5) J Whatman (watermark trimmed)

Notes

The Garden Court was designed and constructed by Robert Taylor as part of his last building works in the mid 1780s. Taylor employed an Italianate arcade similar to his façades for the new wings but the east side of the Court remained the exterior of the Sampson's Pay Hall with a simple elevation and a single Venetian window. Soane sought to remedy the conflicting styles by designing an arcaded wall over the east side of the Court. Drawings 4 and 5 show alternative designs for this arcade, employing a blind window just as Taylor had done on the north side of the Court (between the Court Room and Committee Room windows). The balustrades in both designs resemble the balustrade elevations attributed to Taylor (see SM 1/2/3-5, drawings 6 to 8 in 1:1).

Literature

H. Rooksby Steele and F.R. Yerbury, The Old Bank of England, 1930, pp. 4, 10, 12.

Level

Drawing

Digitisation of the Drawings Collection has been made possible through the generosity of the Leon Levy Foundation

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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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