Scale
(14) bar scale (15) bar scale and (full size) (16) full size; (verso) to a scale
Inscribed
14 The Bank of England and dimensions given
15 as above, Bank of England, Elevation of Niche for front next Lothbury, Moldings, (Copy) and (some in pencil) dimensions given
16 as above, Bottom part of the Architrave / Cill to Recesses; (verso) Section through the recess, plan of the recess and dimensions given
Signed and dated
- (14) Lincolns Inn Fields / April 27th 1805 (15) LIF / April 27th 1805
Hand
Soane office
Watermark
(14) 1802 (15) Hayes & Wise (1799? sheet trimmed)
Notes
In 1805, blind Tivoli windows were added to both the existing screen wall on Lothbury Street and the new north-west extension. The blind Tivoli window on the Bank façade is a modification of the surviving window at the Temple of Vesta at Tivoli. The temple measurements by George Dance in 1762 were copied by Soane in the 1780s (Richardson, p. 136) and subsequently used in Soane's designs for orders, columniations and ornament on the façade of the Bank of England. Blind Tivoli windows were added to both the new and existing screen wall on Bartholomew Lane, Lothbury and Princes Streets. The windows are a derivation of the Tivoli window: the original window opening is narrower at the top than at the bottom, has a shouldered architrave and a flat, shouldered sill and is crowned by a cornice. Soane's Tivoli window is also narrower at the top, shouldered sill and a cornice, but the architrave is not shouldered. The windows are 10'7"1/8 tall.
Literature
M. Richardson, 'John Soane and the Temple of Vesta at Tivoli', Architectural History, vol. 46, 2003, pp. 129-145.
Level
Drawing
Digitisation of the Drawings Collection has been made possible through the generosity of the Leon Levy Foundation
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).
