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image Image 1 for SM (62) archive 14/80/5 (63) archive 14/80/4
image Image 2 for SM (62) archive 14/80/5 (63) archive 14/80/4
image Image 3 for SM (62) archive 14/80/5 (63) archive 14/80/4
  • image Image 1 for SM (62) archive 14/80/5 (63) archive 14/80/4
  • image Image 2 for SM (62) archive 14/80/5 (63) archive 14/80/4
  • image Image 3 for SM (62) archive 14/80/5 (63) archive 14/80/4

Reference number

SM (62) archive 14/80/5 (63) archive 14/80/4

Purpose

Studies for crossing with column-flue and stove (2)

Aspect

62 Rough upward perspective and section and (verso) rough plans and section with dimensions given 63 Rough elevation, plan and interior perspective

Inscribed

62 (verso) some dimensions given including 63.0, 45.0, 25.0

Signed and dated

(62-63) datable to 11 December 1791

Medium and dimensions

(62-63) Brown pen, pencil and hatching on laid secretary paper with three fold marks (321 x 199, 321 x 202)

Hand

(62-63) George Dance (1741-1825)

Watermark

(62) crowned GR, and part of W (63) Britannia with spear, shield and olive branch in crowned roundel and a bell below, and part of W

Notes

The column-flue on the recto of drawings 62 and 63 relates to the triple-lantern scheme studies of drawings 60-61. The studies are close to the preliminary designs Soane submitted to the Bank's directors on 24 November and 6 December 1791 (drawings 1-3, and Bank of England Museum drawings M39 i-iv).
The column-flue on drawing 62 is decorated in two parts: an ornate lower stage and a spiraling upper stage. The capital sprouts into a radial vault supporting the lantern roof. The dome's pendentives are fluted, with scalloped archivolts, and there are square panels, sketched in at the base of the soffit (as eventually realised).
On the verso of drawing 62 are four studies exploring alternatives for planning and vaulting the hall, similar to drawings 60-61. At the top, a five-bay hall features clerestory lunettes (similar to those eventually realised). The centre plan shows a hall divided into two bays with twin crossing-vaultings or domes (similar to Soane's preliminary twin-dome scheme of drawing 4). The bottom plan includes marked dimensions and shows a rectangular central area (demarcated perhaps by counters) and a lightly penciled dome at one end. A final plan, on the drawing's bottom right, shows a cross-vaulted central area. As with drawings 59-61, the existing foundations are not taken into account in any of the studies.
Drawing 63 similarly shows a column-flue articulated in two stages, except that here the lower stage features simpler spiraling and the upper stage is more elaborate with a vegetal capital and radial vault similar to Dance's margin study in drawing 1. Smoke rises whimsically from the chimney. Elsewhere on the drawing are a rough plan of the hall with the stove surrounded by counters, an elevation of the side aisles with segmental arches, and an upward perspective into a radial vault.

Level

Drawing

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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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