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image Image 1 for SM (49) 1/6/28 (50) 1/6/29 (51) 1/6/30
image Image 2 for SM (49) 1/6/28 (50) 1/6/29 (51) 1/6/30
image Image 3 for SM (49) 1/6/28 (50) 1/6/29 (51) 1/6/30
  • image Image 1 for SM (49) 1/6/28 (50) 1/6/29 (51) 1/6/30
  • image Image 2 for SM (49) 1/6/28 (50) 1/6/29 (51) 1/6/30
  • image Image 3 for SM (49) 1/6/28 (50) 1/6/29 (51) 1/6/30

Reference number

SM (49) 1/6/28 (50) 1/6/29 (51) 1/6/30

Purpose

Variant designs for a pedimented attic over a portico on a segmental plan, February 1805 (3)

Aspect

49 Front elevation; part-side elevation; plan of the second stage; and half-plan of the lower stage 50 Front elevation; side elevation; plan of the second stage; half-plan of the lower stage; and rough (pencil) detail of a swag ornament 51 Front elevation; plan of the second stage; plan of the lower stage; and rough (pencil) detail of a rosette

Scale

(49, 51) bar scale (50) to a scale

Inscribed

49 The Bank of England, Sketch of a Design for part of the attic. North West End 50 The Bank of England, Sketch of a Design for part of the Atti. North West End. 51 The Bank of England, Sketch of a Design for part of the Attic / North West End

Signed and dated

(49-50) February 1805 (51) February 4rth 1805

Hand

Soane office

Notes

The attic has slightly curved walls that correspond with the ground floor plan (as shown in drawing 48). The upper stage of the attic is successively wider in side elevation in each drawing. Both drawings 50 and 51 show semicircular-headed arches and panelled pilasters added in pencil to the main face of the attic. The pencil additions could serve to indicate the arched openings at the back of the attic or, in drawing 51, the pencil elevation could indicate the shape of the niches inside the attic. Most apparent is the lack of ornamentation, blocking course and scrolled acroteria in drawing 49 that occur in the other two drawings.

Level

Drawing

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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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