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image Image 1 for SM (15) 9/1/3 (16) 9/1/5
image Image 2 for SM (15) 9/1/3 (16) 9/1/5
  • image Image 1 for SM (15) 9/1/3 (16) 9/1/5
  • image Image 2 for SM (15) 9/1/3 (16) 9/1/5

Reference number

SM (15) 9/1/3 (16) 9/1/5


Designs showing the Corporation of London's 1802 planning proposals, 1826 and 1834 (2)


15 Ground plan of the Bank and surrounding streets 16 Ground plan of the north-west corner of the Bank


(15-16) bar scale


15 Cateaton St, Old Jewry, (capitals) The Poultry, St Mild, Poultry / Compter, Grocers Hall, Meeting, (capitals) Coleman Street, Great Swan Alley, Great Bell Alley, Kings Arms Yard, Princes Street, (capitals) Lothbury, Mansion House, Bank Buildings, (capitals) Royal / Exchange, (capitals) Corn hill, Bartholomew Lane, New Street 16 Princes Street, Lothbury, (capitals) New Street, Coleman Street, Kings Arms Yard, (pencil) part of enclosure / proposed to be / given up to / the Public

Signed and dated

  • (15) July 4th 1826 (16) Office of Works / Guildhall / 1834


Soane office


(16) J Whatman 1834


Drawings 15 and 16 show the proposed City re-planning to the north-west, with the future Moorgate Street (not built until the 1830s, see scheme 3:3) to the north-west, parallel with Coleman Street. The 'New Street' on the upper-right hand side of drawing 15 was also proposed in the City planning of 1802, but never executed. Drawing 15 shows Bartholomew Lane widened and the southern entrance to Princes Street widened as well.

The pencil inscription on drawing 16 refers to the proposed railing at the north-west corner, encircling Tivoli Corner.



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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