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image Image 1 for SM (87) 48/1/20 (88) 48/1/19
image Image 2 for SM (87) 48/1/20 (88) 48/1/19
image Image 3 for SM (87) 48/1/20 (88) 48/1/19
  • image Image 1 for SM (87) 48/1/20 (88) 48/1/19
  • image Image 2 for SM (87) 48/1/20 (88) 48/1/19
  • image Image 3 for SM (87) 48/1/20 (88) 48/1/19

Reference number

SM (87) 48/1/20 (88) 48/1/19


[87-88] Working drawings for the front elevation, September 1818 (2)


87 Elevation of the National Debt Office, ground floor wall plan and part-wall section, variant (pencil) detail of door, (pencil) detail of antefix, verso: (pencil) incomplete five bay front 88 Elevation of Street door into Mr Higham's Apartment and profile


(87) bar scale of 3½ inches to 10 feet (88) bar scale of 1/10 inch to 1 inch


(87) dimensions given (verso, pencil) calculations (88) as above, Wall line, Architrave / full size, A Before B 2½, C. ½ Inch Only and dimensions given

Signed and dated

  • (87) 4th September 1818

Medium and dimensions

(87) Pen, blue, grey, sepia and raw sienna washes, pencil on stout wove paper (509 x 709) (88) pencil, pen and sepia wash on stout wove paper (740 x 530)


(87) ? George Bailey (1792-1860, pupil then assistant, 1806-37, curator 1837-60) (88) Soane office (no Day Book)


On drawing 87 the right-hand basement window has the pencil addition of an incised semicircle with Greek fret stop by the same hand that added an antefix ornament and alternative door details adopted on drawing 88. Here the door detail has a segmental pediment flanked by antefixes over a lintel (perhaps intended for an inscription) supported by straight, reeded brackets. The doorway has a moulded frame for its upper half and is 8 feet 10 inches high and 3 feet 3 inches wide.



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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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