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  • image Image 1 for SM (3) 10/6/11 (4) 10/6/12 (5) 10/6/13
  • image Image 2 for SM (3) 10/6/11 (4) 10/6/12 (5) 10/6/13
  • image Image 3 for SM (3) 10/6/11 (4) 10/6/12 (5) 10/6/13
  • image Image 1 for SM (3) 10/6/11 (4) 10/6/12 (5) 10/6/13
  • image Image 2 for SM (3) 10/6/11 (4) 10/6/12 (5) 10/6/13
  • image Image 3 for SM (3) 10/6/11 (4) 10/6/12 (5) 10/6/13

Reference number

SM (3) 10/6/11 (4) 10/6/12 (5) 10/6/13

Purpose

Designs for the Pay Hall, Committee and Court Room basements, 1 January 1805 (3)

Aspect

3 Plan of the Pay Hall basement; and elevation of semicircular cross vault 4 Plan of the Committee Room basement; and elevation of semicircular cross vault 5 Plan of the Court Room basement; and elevation of semicircular cross vault

Scale

(1) to a scale (2-3) bar scale

Inscribed

3 The Bank, Plan of Groins under the Pay Hall and dimensions given 4 The Bank, Plan of Groins under the Committee Room and dimensions given 5 The Bank, Plan of the Groins under the Court Room and dimensions given

Signed and dated

  • (3) Lincolns Inn Fields / Jany 19th 1805 (4) Lincolns Inn Fields / Jany 21st 1805 (5) Lincolns Inn Fields / Jany 19th 1805

Hand

Soane office

Watermark

(3) 1802

Notes

The three basements have semicircular cross vaults measuring 9'5" in height.

The Pay Hall basement has eight piers in the centre of the rectangular room. The segment of wall in the middle of the room encloses the flue for the Pay Hall stove. A corridor to the east (right-hand side of drawing) connects the room with the Bullion Office and other vaults.

The Committee Room basement has four piers in the centre of the elongated octagonal room. A window on the south wall (right-hand side of drawing) overlooks an area in the Garden Court.

The Court Room has six piers in the centre of the room. Three windows on the south wall overlook the sunken area in the Garden Court.

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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