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image SM (14) 9/3/24

Reference number

SM (14) 9/3/24

Purpose

Design for various alterations to the streets around the Bank according to the 1802 Corporation of London plan for the City, November 1825

Aspect

14 Ground plan

Scale

bar scale

Inscribed

No. 4, The Bank of England, Princes Street, Present line of houses, proposed line of houses agreeably to the City Plan 1802, The Gardens belonging to the / Grocers Company, The line of new Bank Buildings as settled with the city architect, Coleman Street, Lothbury, outline of the Bank agreeably to the original design, Iron Railing, present line of the Bank, St Margaret's Church, Lothbury, Entry into the / Lothbury Court, line of the old houses formely pulled down, proposed New Street, Throgmorton Street, St Bartholomews Lane, Line of houses as proposed by the city plan 1802, Capel Court, Pole Thornton & Co, Church yard, St Bartholomew's Lane, Tower, yard, vestry, Boughey / Bootmaker, Lucy & Witton / Gun maker, The Cock Tavern, Weller / Chemist, Grote Prescott & Co, Threadneedle Street, Part of the Royal Exchange, The Bank Coffee / House, Bank Buildings

Signed and dated

November 1825

Hand

Soane office and Soane

Watermark

Smith & Allnutt 1823

Notes

Drawing 14 shows the street improvements proposed by the Corporation of London in 1802 (see separate scheme 3:3). The south end of Princes Street is to be widened, as is the west end of Lothbury and all of St Bartholomew's Lane. According to this plan, St Bartholomew's Church would be completely demolished, as with the adjoining houses and shops. St Margaret's Church, to the north, would be retained.

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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