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image SM (57) 56/1/17

Reference number

SM (57) 56/1/17


Working drawing for alterations to the basement story (No. 1), April-May 1830


57 Plan shewing the Foundations &c of the proposed New Buildings


bar scale of 3/16 inch to 1 foot


as above, The Bank of England Branch Manchester, No 1, labelled: Strong Room, Drain to be formed from Cesspool to drain of Main Sewer, Rubbed York Paving / on Walls (4 times), Tooled York Paving (4 times), Old Wall (twice), Channel Stone, Paving laid in Sand, Granite Step (twice), Dutch Clinker, Dutch / Clinker / Paving, and some dimensions given

Signed and dated

  • Lincolns Inn Fields / 10 April 1830 and J.S. [John Soane] / 26 May 1830

Medium and dimensions

Pen, sepia, pink, yellow and grey-blue washes, pricked for transfer on wove paper (732 x 531)


George Bailey (1792-1860, pupil then assistant 1806-37, curator 1837-60)


Smith & Allnutt 1827


Dutch clinker is a 'hard burnt brick, generally of small dimensions, and obtained by the calcination of a clay containing a considerable proportion of silica' (APSD). Due to the high temperatures at which they are made, clinker bricks are less porous, and therefore denser, heavier and more water-resistant than regular bricks, making them 'excellent for paving yards and stables' (A. Clifton-Taylor, The Pattern of English Building, 1972, p. 235). The feint pink lines on the drawing are dwarf walls. According to the Specification (drawing 56), the walls were to be built of 'good, sound, wellburnt bricks' and covered with mortar 'composed of the best stone lime that can be procured, and clean, sharp, river sand'.



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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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