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Reference Number

SM (1) volume 60/27 (2) volume 60/34


Design for a four-columned triumphal arch, 25 January and 2 February 1803 (2)


1 Perspective looking south-east; (verso) part-elevation 2 Perspective looking south-east; part-elevation of the attic; (verso) plan for the upper floor of an unidentified house


1 Bank of England, A Design for the North West corner 2 Bank of England, (capitals, pencil) The Bank of En[gland], (pencil) Panel / Gate

Signed and dated

(1) Jan 25 1803 (verso) Feb 2d 1803 (2) Jan 25th 1803


(1) Soane office (verso) Soane (2) Soane office (verso) Soane office


Drawings 1 and 2 show a triumphal arch on the north-west corner. Raised Corinthian columns frame the central arch and single columns are set at an angle to the main face. Drawing 1 has erasure marks reducing the size of the attic and eliminating projecting pilasters over the angled columns. Semicircular-headed niches are added in pencil to the main face. In both drawings, the Lothbury Street screen wall (left-hand side of drawing) is drawn as built, aside from the projecting portico in the centre. The Princes Street screen wall (right-hand side of drawing) is included in drawing 1 and shown with a projecting portico. The walls were completed in 1805 and 1807, respectively.

The verso of drawing 1 has a design similar to that of drawings 3 and 4, with the attic consisting of a central pedestal crowned with an acroterion and with a semicircular arch framing an urn. Fluted pilasters flank both sides of the attic pedestal. The arch below contains a door with fanlight.

The verso of drawing 2 has an upper storey plan of a house, consisting of three rooms with each centred on a window.

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

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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