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  • image SM (212) 49/5/33

Reference number

SM (212) 49/5/33


Design for the new buildings and Triumphal Arch on Downing Street, January 1826


212 Site plan with Section shewing the Levels of the Paving in Fludyer St


bar scale of 4/5 inch to 10 feet


labelled: Whitehall, Council Offices, (pencil) ----- (illegible) Line, Board of Trade, Hall (5 times), Passage, Staircase (3 times), Treasury Passage, (pencil) Court, Treasury Passage leading to the Park, Treasury, Melbourne House, (pencil) Area, St James Park, Garden belonging to / the Treasury, Areas &c (twice), Mr Lushington, Area, Chancellor of the Exchequer, Downing Square, Park, 2'6'', Mr Canning, 5'6'', Foreign Office, Private Houses, Fludyer Street, 4'3'', King St

Signed and dated

  • Lincolns Inn Fields / Jany 26th 1826

Medium and dimensions

Pen, pink, sepia, yellow ochre and blue washes, pricked for transfer with quadruple ruled, sepia and black wash border on wove paper (536 x 742)


Stephen Burchell (1806-?, pupil 1823-28)


Smith & Allnutt 1823


The new building on the south side of Downing Street - identified elsewhere as the State Paper Office - has columns only at the corners of the pavilion and therefore matches the perspective drawing 196. The part plan in pencil on the right of the drawing is a detail of the facilities and area between the stables and the Treasury. Alterations to the Foreign Office which were carried out by Soane in 1826 are also shown in pink wash (q.v. Soane: Office of Works: London: Old Foreign Office, Downing Street: designs for alterations, 1825).



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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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