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image SM (125) 49/6/17

Reference number

SM (125) 49/6/17

Purpose

Working drawing for the Board of Trade Offices showing the height of the building, January 1825

Aspect

125 Part section looking south

Scale

bar scale of 1/6 inch to 1 foot

Inscribed

New Board of Trade and Council Offices Whitehall, labelled: Pavement of Street, Pavement

Signed and dated

  • Lincolns Inn Fields / 12th Jany 1825

Medium and dimensions

Pen, sepia, pink and blue washes, pricked for transfer on wove paper with one fold mark (528 x 733)

Hand

Charles James Richardson (1809-71, pupil and assistant 1824-1837)

Watermark

Smith & Allnutt 1820

Notes

Drawing 125 was perhaps made to demonstrate the distance the observer would have to be from the building in order to see the top of the balustrade over the corridor. It is potentially relevant that at the Select Committee inquiry in 1828 Robinson reported that 'I conceived, (although I do not recollect that it appeared in the drawing), that it [the balustrade over the corridor] would be invisible from the street, and that at all events it was to be part of an entire story, and not merely two walls very near together for the mere purpose of concealing the skylights... When the details of the building were subsequently more thoroughly explained, I was very much struck with its want of height, and I stated my feelings on the subject very decidedly to Mr. Soane.'

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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