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image SM volume 42/176

Reference number

SM volume 42/176

Purpose

Study for four-bay alternative scheme with lantern dome and cross-vaults

Aspect

69 Rough plan, longitudinal section looking east and structural detail

Inscribed

Pl / clk (Principle Clerk)

Signed and dated

datable to 11 December 1791

Medium and dimensions

Brown pen on laid secretary paper (202 x 319)

Hand

George Dance (1741-1825)

Watermark

crowned GR, and part of W

Notes

The plan and section, like drawing 68, shows a combination of lantern dome and cross-vaults. However, as the section shows, Dance here eliminates the lunettes beneath the lantern dome, bringing the scheme closer to the eventually realised design of the hall's central aisle.
The plan was quickly sketched and does not take into account the true dimensions of the existing hall (unlike drawing 65). If Taylor's existing bay system and foundations were to be reused, three equal squares over the central aisle could not be delineated, as shown in the section. Instead, in the executed version, the centre aisle features a square crossing and rectangular end-bays.

Literature

D. Abramson, Building the Bank of England: money, architecture, society 1694-1942, 2005, p. 105

Level

Drawing

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

If you have any further information about this object, please contact us: drawings@soane.org.uk

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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