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  • image SM 47/5/39

Reference number

SM 47/5/39

Purpose

[36] Design for the railings for St John’s Bethnal Green, London, 10 July 1827

Aspect

Two elevations of the walls with railings. Top: Elevation of the entrance piers on square bases. From the pier on the right side there is a long wall which gets higher towards the right side and the wall is partitioned into twenty blocks by pillars. The second block of the wall has the top half exposed. The eleventh and eighteenth block have a figure in left profile standing in front. Atop the wall is a series of vertical rails with horizontal cross rails towards the top and bottom Bottom: Elevation of the entrance piers on square bases. From the pillar on the right side there is a long wall which gets higher towards the right side and the wall is partitioned into twenty blocks by pillars. The second block of the wall is exposed down the middle. The sixteenth block has a figure in left profile standing in front. Atop the wall is a series of vertical rails with horizontal cross rails towards the top and bottom. The rails descend into second block to the ground. Across the eleventh block is a large strike-through

Scale

bar scale of ½ inch to 5 feet

Inscribed

measurements given

Signed and dated

  • 10 July 1827

Medium and dimensions

Pencil, pen, coloured washes of blue, brown, green and stone, on wove paper (540 x 340)

Hand

Probably Stephen Burchell (1806 - c.1843), draughtsman
The Soane Office Day Book for 10 July 1827 has Burchell working on the boundary wall railings

Watermark

SMITH & ALLNUTT / 1823

Notes

The measurements indicate the top wall is taller towards the far end than on the one below (17.6 feet as opposed to 15.6 feet), and the crossing on the bottom elevation indicates this was to be rejected in favour of the top version

Level

Drawing

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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