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You are here: CollectionsOnline  /  Variant designs for a pedimented attic with a segmental opening on the lowers stage, for a portico on a segmental plan, 30 and 31 December 1804 (3)
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image Image 1 for SM (44) 1/6/25 (45) 1/6/24 (46) 10/2/6
image Image 2 for SM (44) 1/6/25 (45) 1/6/24 (46) 10/2/6
image Image 3 for SM (44) 1/6/25 (45) 1/6/24 (46) 10/2/6
  • image Image 1 for SM (44) 1/6/25 (45) 1/6/24 (46) 10/2/6
  • image Image 2 for SM (44) 1/6/25 (45) 1/6/24 (46) 10/2/6
  • image Image 3 for SM (44) 1/6/25 (45) 1/6/24 (46) 10/2/6

Reference number

SM (44) 1/6/25 (45) 1/6/24 (46) 10/2/6

Purpose

Variant designs for a pedimented attic with a segmental opening on the lowers stage, for a portico on a segmental plan, 30 and 31 December 1804 (3)

Aspect

44 Front elevation and rough part-elevation 45 Front elevation; rough (pencil) elevation of antefixes on pilasters 46 Cross section; (feint pencil) part-plan of the attic showing shouldered pilasters

Scale

(44-46) to a scale

Inscribed

44 MDCCV and some dimensions given 45 The Bank of England, Design for Part of the Attic. North West Corner, MDCCCV and some dimensions given 46 The Bank of England, (Soane) ----er Rustica (illegible)

Signed and dated

(44) Decr 30: 1804 (45) Decr 31: 1804 (46) L.I.F. / Decr 31: 1804

Hand

Soane office and Soane

Watermark

(44) 1802

Notes

The pedimented attic has a large segmental opening on the front of the lower stage. The amendments made to drawing 44 are included in drawing 45, with a blocking course and urns added. Drawing 46 is a similar design but the urns are omitted. The dimension on drawing 46, 7.4 3/8, is the intercolumniation of the portico and corresponds with the dimensions for the Temple of Vesta at Tivoli.

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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