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Reference Number

SM (10) volume 73/106

Purpose

Design for a four-columned triumphal arch, introducing a shouldered attic plan and a panelled Vitruvian door, 7 and 9 February 1803

Aspect

10 Front elevation and ground floor plan; rough part-plan of the attic; elevation and plans of an antefix on a pedestal; rough (pencil) details of a Greek key frieze and a cornice; (verso) full size detail of the plinth and base of one of the attic pilasters

Scale

bar scale

Inscribed

(Soane) Arch[ivolt] (four times), to br[ick] arch / over / at 12 feet high, arches (?) form / into brick / en plein centre, (capitals) Bank of England, See base full: other / side, Qy archi[trave], A and dimensions given; (verso) A and some dimensions given

Signed and dated

Feb: 7 1803 and Feb. 9. 1803

Watermark

Hayes & Wise 1799

Hand

Soane office and Soane

Notes

Raised Corinthian columns flank a semicircular-headed arch, and another set of single raised colummns are placed at an angle to the main face. The attic consists of a pedestal with a semicircular opening framing an acroterion enclosing a wreathed eagle and supporting a plinth surmounted by a domed cap (as in drawing 6). To either side of the attic pedestal are fluted pilasters capped by antefixes. Unlike drawings 6 and 8, the pilasters are on a 'shouldered' attic plan (that is, offset at the corner of the pedestal) rather than on a projecting plane (see sketch detail, top left-hand side of the drawing).

Additions to the drawing in pen show a blind panelled Vitruvian door included at the back of the recession. Overlaid on the elevation in red pen is a section of one of the coved recesses and a modification that enlarges the central arch.

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.

Browse (via the vertical menu to the left) and search results for Drawings include a mixture of Concise catalogue records – drawn from an outline list of the collection – and fuller records where drawings have been catalogued in more detail (an ongoing process).