Variant designs for a screen on the west side (2)

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Sir John Soane office drawings: the drawings of Sir John Soane and the office of Sir John Soane
- Bank of England
  - Bank of England, City of London for the Governor and Company of the Bank of England, 1788-1834 (1352)
    - 1791-1801 Rebuilding of offices in the east wing and north-east extension (430)
      - Lothbury Court and surrounding offices, 1797-1801 (109)

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Reference number

SM (62) volume 60/156 (63) 12/3/14

Purpose

Variant designs for a screen on the west side (2)

Aspect

62 Perspective looking east from the Residence Court showing a screen of four raised Corinthian columns on a base with four semicircular-arched entrances or windows; Lothbury Court has projecting corners at the attic level 63 Perspective looking east from the Residence Court showing a screen of four raised Corinthian columns on a base with five segmental-arched entrances; Lothbury Court is raised three steps with a portico of four Corinthian columns raised in antis behind a double external staircase on a curved plan, with a south side having a semicircular-headed entrance between raised blind 'portico's flanked by round plinths supporting lion statues

Inscribed

63 (Bailey) The Bank of England, View of a Design for the Lothbury Court &c _ looking towards the South East.

Hand

Soane office

Watermark

(63) J Whatman 1794

Notes

In drawings 62 and 63, the east and west sides of Lothbury Court contain four raised Corinthian columns. This arrangement of facing 'porticos' would persist in all future designs for the Court and eventually materialise in the executed design. Access through the western side, however, was still under consideration for several years. Variant designs for the west wall continued to be executed until early 1800.

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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