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image Image 1 for SM (106) volume 72/25 (107) volume 73/103 (108) volume 72/26 (109) volume 73/104
image Image 2 for SM (106) volume 72/25 (107) volume 73/103 (108) volume 72/26 (109) volume 73/104
image Image 3 for SM (106) volume 72/25 (107) volume 73/103 (108) volume 72/26 (109) volume 73/104
image Image 4 for SM (106) volume 72/25 (107) volume 73/103 (108) volume 72/26 (109) volume 73/104
  • image Image 1 for SM (106) volume 72/25 (107) volume 73/103 (108) volume 72/26 (109) volume 73/104
  • image Image 2 for SM (106) volume 72/25 (107) volume 73/103 (108) volume 72/26 (109) volume 73/104
  • image Image 3 for SM (106) volume 72/25 (107) volume 73/103 (108) volume 72/26 (109) volume 73/104
  • image Image 4 for SM (106) volume 72/25 (107) volume 73/103 (108) volume 72/26 (109) volume 73/104

Reference number

SM (106) volume 72/25 (107) volume 73/103 (108) volume 72/26 (109) volume 73/104

Purpose

Variant designs for the lobby at the east end of the loggia, one dated August 1804 (4)

Aspect

106 Plan with laid out sections; and full size detail of an architrave 107 Plan with laid out sections; and full size detail of an architrave; 108 Section 109 Plan with two laid out wall elevations; and rough (pencil) part section

Scale

(106-107) to a scale and full size (108-109) to a scale

Inscribed

106 as above, The Bank / Lobby at the End of Loggia next Cheque Office, Floor of Discount Office, Floor of Accountants Office, Stone (four times), Loggia, door to proposed / discount office, Lobby, Door to Acc[ountan]ts / Office, Door into / Cheque / Office, A, Concentric, Tympanum / Sunk 4½ inches / from the part / that corresponds / with B, Architrave and dimensions given 107 as above, labelled, some in red pen: A, Architrave, Concentric, Tympanum / Sunk 4½ inches / from the part that / corresponds with B, Door into / Acc[ounta]nts [Office], Stone, Floor of Accts Office, stone, Floor of Disc[oun]ts Off[ice], Door / into Cheque / office, Door into / proposed Disc[oun]t / office, Qy niche, (pencil) Mr Norris / No 2 Windmill Row / Camberwell / Elephant & Castle / left hand / just through / Woolworth / Turnpike on / the right hand (sheet trimmed), Mr Russell at the Manufactury and some calculations and dimensions given 109 dimensions given

Signed and dated

(107) Bank Aug: 7: 1804

Hand

(106) Soane office (107-109) Soane and Soane office

Watermark

(108) J Whatman 1801

Notes

The lobby at the east end of the loggia is shown with variant top-lighting. In drawings 106 and 109, the room is lit by a lantern. Drawing 107 (and one of the sections in drawing 106) shows a bell light. A lunette from the loggia is shown overlooking the single-storey lobby in drawings 106 and 107. Drawing 108 has a domed lantern on shallow pendentives. The exterior walls of the surrounding builddings are included in the section, showing lunettes on all three sides over-looking the single-storey lobby. It is clear from drawings 106 to 109 that some rooms have strategically low ceilings so as to afford clerestory windows in th adjacent rooms.

The pencil inscriptions on drawing 107 are unrelated to the drawings. 'Mr Russell' could refer to Thomas Russell, smith, who worked for Soane at the Bank from 1788 as well as Dulwich, 1811-15, and 12 and 14 Lincolns Inn Fields, 1793-4 and 1823-6, respectively (Bolton, p. 61; Dean, pp. 45, 55, 93). 'Mr Norris' could refer to a Mr Norris who owned property two doors down from the National Debt Redemption Office on Old Jewry (See SM 9/1/4, drawing 6 in scheme 5:3).

Literature

A. Bolton, The Works of Sir John Soane, 1924; P. Dean, Sir John Soane and London, 2006.

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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