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image Image 1 for SM (17) volume 74/29 (18) volume 74/21 (19) volume 74/11
image Image 2 for SM (17) volume 74/29 (18) volume 74/21 (19) volume 74/11
image Image 3 for SM (17) volume 74/29 (18) volume 74/21 (19) volume 74/11
  • image Image 1 for SM (17) volume 74/29 (18) volume 74/21 (19) volume 74/11
  • image Image 2 for SM (17) volume 74/29 (18) volume 74/21 (19) volume 74/11
  • image Image 3 for SM (17) volume 74/29 (18) volume 74/21 (19) volume 74/11

Reference number

SM (17) volume 74/29 (18) volume 74/21 (19) volume 74/11

Purpose

Designs for north wall and side-aisle arches (3)

Aspect

17 Transverse section looking north with elongated side-aisle arches 18 Transverse Section of Bank Stock Office / (Looking North.) 19 (verso) Transverse Section looking north with doorway in north wall and (verso, pencil) rough sketches for an arch structure, a pier base and an alternative wall elevation

Scale

(17) bar scale of ¼ inch to 1 foot (18) to a scale (19) bar scale of ½ inch to 1 foot

Inscribed

18 as above The Bank of England and (verso) (mislabeled) Longitudinal Section 19 as above, The Bank of England, Section of the Bank Stock Office, (pencil) Make these panels like the other side, (pencil) calculation and some dimensions for the door given

Signed and dated

(17-19) datable to 1792

Medium and dimensions

(17) Pen, pencil, pale red ink and sepia wash on wove paper with one fold mark (520 x 646) (18) pen, pencil, pale red ink and sepia wash on wove paper with three fold marks (511 x 648) (19) pen, pencil, pale red ink, sepia, brown madder and pale blue washes, partly pricked for transfer on wove paper with three fold marks (520 x 662)

Hand

Soane office

Notes

Drawing 17 shows the banded rustication and fluted pilasters approximately as executed, but little else in detail. Soane experiments with raising the height of the side-aisle arches up to the level of the entablature (similarly to the triple-lantern scheme in drawing 2), giving the hall a greater sense of vertical monumentality. However, elevating these arches would have resulted in raising the height of the corner bays to the level of the side-arm vaults and thus presumably eliminating the clerestory lunettes. This scheme was not pursued because it would have darkened the periphery of the hall. The drawing may be related to drawing 13, which also omits the clerestory lunettes.
Drawing 18 accurately shows the dimensions of the hall as realised, the elevation of the side-aisle arches, and the banded rustication used to decorated the walls. However, the design does not precisely match that of the executed hall. Omitted are three fielded panels in the upper zone of the north wall, similar to those found above the side-aisle arches. Furthermore the fasciated Ionic architrave was replaced by a fret moulding, and the projecting cornice by a much flatter roll moulding. The section also does not attempt to show the surfaces of the pendentive dome or side-arm barrel vaults.
Similarly drawing 19 shows the dimensions, structure and decoration more or less as built, including the banded rustication surmounted by panels, counters, grilles, a corner cupboard for storing ledgers and other Bank books, and the iron and glass lantern. However, the shaded doorway was not cut through this north wall, but in the opposite south wall leading to the Rotunda. The dimensions of the wall panels are also not exactly as executed.
There are some sketches on drawing 19, presumably by Soane, including a blocking course above the right bay, and on the bottom of the sheet a foundation arcade and a pattern for the soffit of one of the lateral arches.

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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