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image Image 1 for SM (32) volume 47/10 (33) volume 47/9 (34) 2/3b/3
image Image 2 for SM (32) volume 47/10 (33) volume 47/9 (34) 2/3b/3
image Image 3 for SM (32) volume 47/10 (33) volume 47/9 (34) 2/3b/3
  • image Image 1 for SM (32) volume 47/10 (33) volume 47/9 (34) 2/3b/3
  • image Image 2 for SM (32) volume 47/10 (33) volume 47/9 (34) 2/3b/3
  • image Image 3 for SM (32) volume 47/10 (33) volume 47/9 (34) 2/3b/3

Reference number

SM (32) volume 47/10 (33) volume 47/9 (34) 2/3b/3

Purpose

Site record drawings, one dated 13-18 November 1816 (3)

Aspect

32 Plan of the top of the / Queen Post, transverse Section / of the Beam / shewing the Iron / at C. and a Section showing the Queen Post with iron tie rod, Straining Beam and Rafter 33 A longitudinal section of half of the truss girder, detail Elevation, Longitudinal Section and Transverse Section of one of the truss girders 34 Plan of the Principal Timbers of the Floor of the Office over the Cheque Office at the Bank of England

Scale

(34) bar scale

Inscribed

32 as above, Plan of the top of the / cast Iron bolt B, Plate, Head of the bolt, Coupling, The Beam, Bolt (three times), This space was left to allow / the beam to be screwed / up at any time afterwards., One of the Iron / bolts at B / cast Iron, Square threads to all the Screws, abutment Iron 1/8" thick, made of Vat Hoop, nut (twice) and some dimensions given 33 as above, Drawings of one of the trussed Girders of the floor of the new Cheque Office at the Bank, Oak (three times), Fir (twice), abutment Plate / of Lead 3/8 thick seen / at A in the / drawing above, The Iron work at / the abutment at A, 8.9" to the termination of the cut in the Beam, Iron, Whole length of the Beam in the rough 47.2" and some dimensions given 34 as above and some dimensions given

Signed and dated

(32) datable to November 1816 (33) November 13th. 1816 (34) Lincolns Inn Fields / 18th Decr1816

Hand

Soane office

Notes

Drawings 32 and 33 both show the raised floor structure of the office over the Reduced Annuities Office. The floor was raised so that it would not interfere with the structure of the roof below. Drawing 32 shows a section of the queen post, shown in wider section in drawing 33. A plan of the top of the queen post, with iron bolts is also shown. Drawing 33 shows the straining beam and rafters are made out of oak, whereas the beam underneath is made of fir.

The rafter shown on both drawings is joined to the queen post by an iron abutment, labelled on drawing 32 as 'made of Vat Hoop', which was probably a trade name for iron straps (iron-hoop straps were used to secure wooden barrels or vats). The inscription on drawing 32 also indicates that a space was left between the beam and the queen post so that it could be screwed up at a later date. This was presumably to allow for any shift in the foundations or similar that might render the wooden structure loose.

The inscription on drawing 32 refers to 'coupling', which the Dictionary of Architecture (op.cit.) defines a 'couple' or a 'couple close' as 'A term used in the north of England for a pair of rafters framed together with a tie fixed at their feet, or with a collar-beam'.

Drawing 34 shows the structure of the whole raised floor. The queen post (each with two bolts marked) are shown in pairs framing the three central horizontal beams.

Literature

W. Papworth (ed) for the Architectural Publication Society, Dictionary of architecture, published in parts 1848-1892, volume II, pp. 155

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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