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image Image 1 for SM (21) 11/2/13 (22) 11/2/12 (23) 11/2/11
image Image 2 for SM (21) 11/2/13 (22) 11/2/12 (23) 11/2/11
image Image 3 for SM (21) 11/2/13 (22) 11/2/12 (23) 11/2/11
  • image Image 1 for SM (21) 11/2/13 (22) 11/2/12 (23) 11/2/11
  • image Image 2 for SM (21) 11/2/13 (22) 11/2/12 (23) 11/2/11
  • image Image 3 for SM (21) 11/2/13 (22) 11/2/12 (23) 11/2/11

Reference number

SM (21) 11/2/13 (22) 11/2/12 (23) 11/2/11

Purpose

Further variant designs for five houses in Princes Street, September 1807 (3)

Aspect

21 General Plan of a Design for Five Houses in Princes Street 22 General Plan of a Design for Five Houses in Princes Street & Lothbury 23 General Plan of a Design for Five Houses in Princes Street & Lothbury 1807

Scale

(21-23) bar scales of 1/8 inch to 1 foot

Inscribed

21 as above, labelled: Part of the Bank of England, Princes Street, No 1, No 2, No 3, No 4, No 5, Lothbury, Area (5 times), The Grocers Companys / Gardens, Hall belonging to the Grocers Company, Property not belonging to the Bank (twice) and dimensions given 22 as above, labelled: The Bank of England, Princes Street, No 1, No 2, No 3, No 4, No 5, Lothbury, Area (5 times), The Grocers Companys / Garden, Dressing / Room (3 times), Hall belonging to the / Grocers Company, (Bailey) Property not belonging to the Bank, Office one Story high / and Basement, Strong / Closet and dimensions given 23 as above, labelled: The Bank of England, No 1, No 2, No 3, No 4, No 5, The / Secretarys / Office, Passage, Staircase, Secretarys / Parlor, Dress[ing] / room, Clos[et], Property not belonging to the Bank and some dimensions given

Signed and dated

  • (21) Sepr 17 1807 (22) Septr 19th 1807 (23) Septr 23rd / 1807

Medium and dimensions

(21) Pen, pencil, pink, blue and sepia washes, pricked for transfer within a double ruled border on wove paper (458 x 668) (22) pen, sepia and blue washes, pricked for transfer on wove paper (466 x 660) (23) pen, pencil, sepia, blue and burnt Sienna washes, pricked for transfer on wove paper (467 x 660)

Hand

(21) George Bailey (1792-1860, pupil then assistant 1806-37, curator 1837-60) (22) Robert Dennis Chantrell (1793-1872, pupil 1807-14) (23) James Adams, jnr. (1785-1850, pupil 1806-09)

Notes

Drawings 21 and 23 are original designs for the new houses, whereas drawing 22 is a copy of an earlier drawing (9 or 10) made by Soane's newest pupil at the time, Robert Chantrell. The main differences between these and the earlier designs for the new houses occur at the back of the buildings. On drawing 21, the rear of Nos 2 and 3 have bowed walls, whilst on drawing 23 these are canted and have octagonal rooms within. On both drawings, the rear of No. 4 is canted. Other internal alterations are also planned, including a large oval room in No. 5 and different designs for staircases in Nos 1, 2 and 3.

Drawings 21 and 23 also show some preliminary details for the decoration of the ceilings in the new houses. Interestingly, the 'secretarys office' to the rear of No. 1 features a winged staff motif similar to the caduceus, a symbol of commerce used by Soane at the Bank of England and the Manchester branch bank.

An outline of the previous buildings occupying the site is overlaid on each of the drawings.

Level

Drawing

Digitisation of the Drawings Collection has been made possible through the generosity of the Leon Levy Foundation

If you have any further information about this object, please contact us: drawings@soane.org.uk

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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