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image Image 1 for SM (74) 10/3/26 (75) 10/3/6 (76) 10/3/15 (77) 10/3/17 (78) 10/3/18 (79) 10/3/19 (80) 12/3/5
image Image 2 for SM (74) 10/3/26 (75) 10/3/6 (76) 10/3/15 (77) 10/3/17 (78) 10/3/18 (79) 10/3/19 (80) 12/3/5
image Image 3 for SM (74) 10/3/26 (75) 10/3/6 (76) 10/3/15 (77) 10/3/17 (78) 10/3/18 (79) 10/3/19 (80) 12/3/5
image Image 4 for SM (74) 10/3/26 (75) 10/3/6 (76) 10/3/15 (77) 10/3/17 (78) 10/3/18 (79) 10/3/19 (80) 12/3/5
image Image 5 for SM (74) 10/3/26 (75) 10/3/6 (76) 10/3/15 (77) 10/3/17 (78) 10/3/18 (79) 10/3/19 (80) 12/3/5
image Image 6 for SM (74) 10/3/26 (75) 10/3/6 (76) 10/3/15 (77) 10/3/17 (78) 10/3/18 (79) 10/3/19 (80) 12/3/5
image Image 7 for SM (74) 10/3/26 (75) 10/3/6 (76) 10/3/15 (77) 10/3/17 (78) 10/3/18 (79) 10/3/19 (80) 12/3/5
image Image 8 for SM (74) 10/3/26 (75) 10/3/6 (76) 10/3/15 (77) 10/3/17 (78) 10/3/18 (79) 10/3/19 (80) 12/3/5
  • image Image 1 for SM (74) 10/3/26 (75) 10/3/6 (76) 10/3/15 (77) 10/3/17 (78) 10/3/18 (79) 10/3/19 (80) 12/3/5
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  • image Image 3 for SM (74) 10/3/26 (75) 10/3/6 (76) 10/3/15 (77) 10/3/17 (78) 10/3/18 (79) 10/3/19 (80) 12/3/5
  • image Image 4 for SM (74) 10/3/26 (75) 10/3/6 (76) 10/3/15 (77) 10/3/17 (78) 10/3/18 (79) 10/3/19 (80) 12/3/5
  • image Image 5 for SM (74) 10/3/26 (75) 10/3/6 (76) 10/3/15 (77) 10/3/17 (78) 10/3/18 (79) 10/3/19 (80) 12/3/5
  • image Image 6 for SM (74) 10/3/26 (75) 10/3/6 (76) 10/3/15 (77) 10/3/17 (78) 10/3/18 (79) 10/3/19 (80) 12/3/5
  • image Image 7 for SM (74) 10/3/26 (75) 10/3/6 (76) 10/3/15 (77) 10/3/17 (78) 10/3/18 (79) 10/3/19 (80) 12/3/5
  • image Image 8 for SM (74) 10/3/26 (75) 10/3/6 (76) 10/3/15 (77) 10/3/17 (78) 10/3/18 (79) 10/3/19 (80) 12/3/5

Reference number

SM (74) 10/3/26 (75) 10/3/6 (76) 10/3/15 (77) 10/3/17 (78) 10/3/18 (79) 10/3/19 (80) 12/3/5

Purpose

Variant designs and a record drawing for the Bullion Arch, November 1799 (7)

Aspect

74 Elevation, two wall plans and two sections of a semicircular-headed entrance between raised twin columns with, to either side, a semicircular-headed window below a niche in the attic above; between each column pair is a niche, a roundel and a caduceus in the attic above; an equestrian statue surmounts the attic 75 In Soane's hand, a copy of drawing 74 with alterations in brown pen and pencil, including one window shortened and surmounted by a roundel, fret pattern cancelled, niche and roundel pairs cancelled in pencil; rough elevation of Tivoli window for the niche, half size plan of attic pilaster, details (cancelled) of the projecting attic pilasters and detail of the eave; (verso) half size detail of the impost cornice 76 Elevation showing the revisions suggested in drawing 75, including shorter windows on either side of the gateway, roundels above the windows, niches and roundels omitted and replaced by caducei 77 Elevation and wall plan similar to drawing 74, showing, between the columns, roundels and niches supporting statues of standing figures, fret pattern on the bases of the columns, caducei on the attic panels and taller windows 78 Elevation, wall plan of column bases, wall plan of attic; elevation as in drawing 74 but with variation in mouldings, an apron below both windows, fret motif on plinth supporting equestrian statue 79 Elevation, two sections, wall plan and part plan of attic showing similar design as drawing 74 but, on the right side, columns support statues of standing figures, decoration and niches have been erased and (brown pen, Soane) a festoon added to the attic panel 80 Elevation, wall plan and two sections of the south side of Lothbury Court, showing a semicircular-headed entrance between raised twin Corinthian columns, each supporting a figurative statue; to each side a semicircular-headed window beneath a roundel, and attic ornamented with fret motif; above the attic is a plinth supporting an equestrian statue

Scale

(74-79) bar scale (80) to a scale

Inscribed

74 Section on / line CD, Section on / line AB, A, B, C (twice), D (twice), Wall line, Wall (twice) and dimensions given 75 Section on the line A.B., Section on the line C, key to letters on elevation A to E and M (twice), H (twice), K, I, HH The Moulding to be this / same as to the two doors / from the Loggia to the / Acct Genl & dep. Accts / Houses, I. ---- -- (cancelled, illegible) like this to / the bases of the present / attic, K. Cornice like that already / used to the attic, M. Base mouldings of columns / to be continued between / the Colm also, See impost Cornice on other side, and with dimensions given, Extends between Walls 58:11½, wall line (twice) and dimensions given (Bailey) Sketch of a Design for the South side of the "Lothbury Court", The Bank of England, (verso) E half size, G ½ size 76 This, This side 77 some dimensions given 78 some dimensions given 75-79 (Bailey) Sketch of a Design for the South side of "Lothbury Court", The Bank of England 80 (Bailey) The Bank of England, Design for the South side of the "Lothbury Court"

Signed and dated

(74) 11th November 1799 (75) LIF / Nov 9 1799 at 10 at night (76) (Bailey) 1799 Probably 10 or 11 November, 1799 (77) 12th Novr 1799 (78) (sheet trimmed) [November] 13: 1799 / 10 at night (79) Nov 15th 1799 (80) (Bailey) 1799

Hand

(74-76) Soane and Soane office (77-80) Soane office

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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