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Reference number

SM (3) 9/3/3 (4) 9/3/4


Preliminary designs for the north-east extension, one dated 1794 (2) ***


3 Ground plan of the Bank and a straightened Bartholomew Lane, showing proposed bank buildings and rental properties and preliminary design for north-east offices; rough (pencil) elevation and part-plan of Lothbury Street screen wall 4 Ground plan as in drawing 3 but with a variant design for the offices and showing a passage leading from Lothbury Street to the Bullion Office


(3-4) bar scale


3 Court, House Porters, Lodge (twice), Gate Porters, Strong Room, Vestibule, Stock Room, Vestibule, Great Hall, Treasury, Mr Newland / Room, Cashiers Office, Lobby, Court, Bullion Office, Accountants Office, Passage, Watchmans Lodge, Coffee Room, Library, Deputy Accts / Office, Drawing Office, Court, Dividend Warrant Office, Cheque Office, Reduced Annuity Office, Committee Room, Court Room, Waiting Room (four times), Yard, Officers Room, Bedroom, Servants Room, Barracks, Engine House, Strong Room (twice), Chancery Office, and plan of proposed building labelled: Passage of separation, Court (twice), Court / to / No 3, Court / to / No 1, Gate, holdings numbered 1 to 10 with some dimensions, and dwellings 6 and 7 named: Mr Edwards and Mr Walton, rough plan labelled: Transfer and with dimensions given, (Bailey) The Bank of England, General Plan in the Year 4 Labelled as in drawing 3, plan of proposed extension labelled: Transfer Office / 32 or 36 if possible, Box, Interior Office / to curtain / 10 or 12 Clerks, Strong Room (twice), feint pencil inscriptions, Principal / Clerks / acco: Gen / of Chan, Passage, Privy Court, Court, with dimensions given, and holdings labelled No 1 to 10, Court (six times), Area (three times), and street names

Signed and dated

  • (3) (pencil) 1794 (4) datable to before 1791 (see Notes)

Medium and dimensions

(3) Pen, grey and orange washes, and pencil, within double ruled, grey and orange wash border, on laid paper (578 x 501) (4) pen, grey, pink and blue washes, and pencil, within double ruled grey and blue wash border, on wove paper (494 x 555)


Soane office


(3) I Taylor and GR below a fleur-de-lis and crown


Drawings 3 and 4 are very similar yet drawing 4 shows an earlier plan of the Bank, probably before 1791. Drawing 3 shows all buildings erected before 1794, including the Bank Stock Office, the string of offices behind the screen wall on Princes Street and the rebuilt vestibule leading from the front court to the Rotunda. Drawing 4 shows the offices behind the Princes Street screen wall in red wash, indicating their unbuilt state. These buildings include the Discount Office, Accountants Office and Governor's Room. Both drawings show virtually the same design for the proposed houses on Lothbury Street, suggesting that those parts of the drawings are contemporary to one another. Drawing 3, therefore, could be a modified copy of drawing 4.

Rough plans show a preliminary design for the Consols Transfer Office. The Office's long axis runs parallel to Bartholomew Lane, with one end aligned with the Four Per Cent Office. As shown in the Consols Transfer Office and Lothbury Court schemes (see schemes 2:9 and 2:7), the Office was reoriented on an east-west axis.

Drawing 3 has cross-hatching to show the ceiling plans of the rooms. Interestingly, a starfish ceiling is in the recess of one of the offices. The corridors also have a series of vaulted ceilings that appear to be groin-vaults supporting lanterns or starfish ceilings. These corridors were not built by Soane, however; they were built by Robert Taylor from 1780 to 1782. Soane built a starfish ceiling at his home in 12 Lincolns Inn Fields in 1792.



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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