Design and presentation drawings for widening Lothbury, by Samuel Acton, one copied, April 1829 (2)

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Sir John Soane office drawings: the drawings of Sir John Soane and the office of Sir John Soane
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  - Bank of England, City of London for the Governor and Company of the Bank of England, 1788-1834 (1352)
    - 1817-1833 Rebuilding of offices in the south-east and the façade, temporary office spaces and presentation drawings (219)
      - Improvements to streets, 1825-1829 (18)

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Reference number

SM (17) 9/1/9 (18) 9/1/1

Purpose

Design and presentation drawings for widening Lothbury, by Samuel Acton, one copied, April 1829 (2)

Aspect

17 (upper case) Plan / shewing a proposed improvement / at the / [west] end of / Lothbury 18 (upper case) Plan / shewing a proposed improvement / at the / [west] end of / Lothbury

Scale

(17-18) bar scale

Inscribed

17 as above and (upper case): Cateaton / Street, The Old Jewry, Coleman Street, Lothbury, Princes Street, Present line of buildings, proposed line of buildings, areas, 36 ^ft 0 (twice) 18 as above, (Copy) and (upper case): Cateaton / Street, The Old Jewry, Coleman Street, Lothbury, Princes Street, Present line of buildings, Areas, 36 ^ft 0, (Soane) Copy of / M^rActon's Design N^o2 rec ^d the 4^thMay 1829, N^o 3 This design is a copy of the / first on a larger scale

Signed and dated

(17) Samuel Acton / April 1829 (18) Samuel Acton / April 1829

Hand

(17) Samuel Acton (18) Samuel Acton and Soane

Watermark

(17) watermark trimmed

Notes

Drawings 17 and 18 show a later design for the west end of Lothbury Street. Unlike earlier drawings by Samuel Acton (drawings 1 to 3) the entrance to Coleman Street is not changed and Princes Street is 36 feet wide.

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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