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  • image SM volume 74/20

Reference number

SM volume 74/20


Design for stove, close to executed design


44 Transverse Section through Bank Stock Offfice looking south


bar scale of ½ inch to 1 foot


as above, The Bank of England, (pencil) dimensions given

Signed and dated

  • datable to 1792

Medium and dimensions

Pen, pencil and sepia wash, partly pricked for transfer on wove paper with five fold marks (536 x 636)


Soane office


The preliminary design for the stove in the centre of this sheet, featuring a central rosette, fret moulding, corner lions, and strigilated shaft surmounted by symbolic flame, is somewhat more elaborate than the realised version that omitted the symbolic flame.
The rest of the drawing is closer to the design as executed, showing the side-aisles' fluted piers on pedestals, the semicircular arches surmounted by large fielded panels, and the piers in the lantern. In the built version, the fasciated Ionic architrave was replaced by a fret moulding, and the projecting cornice by a much flatter roll moulding. The section does not attempt to depict the elevation of the south wall, nor the surfaces of the pendentive dome or side-aisle barrel vaults.
There are some very light, miscellaneous sketch designs in the margins, including a plan for the side-aisle piers showing the dimensions of the pedestal and shaft.


T. Willmert. 'Heating methods and their impact on Soane's work: Lincoln's Inn Fields and Dulwich Picture Gallery', Journal of Society of Architectural Historians, 52/1, March 1993, p. 31, fig. 3



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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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