Church of All Hallows, London Wall, City of London, 1765

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George Dance office drawings: the drawings of George Dance the Elder and George Dance the Younger
- Churches (7)
  - Church of All Hallows, London Wall, City of London, 1765. Preliminary designs, contract and working drawings (9)

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Reference number

SM volume 19/19

Purpose

Church of All Hallows, London Wall, City of London, 1765

Aspect

[3] Elevation of the south Front

Scale

A Scale of feet (1/7 in to 1 ft)

Inscribed

Inscribed: as above Signed: This Elevation was produc'd by George / Dance Jun^r / at a meeting of the Trustees for Rebuilding the / Parish Church of Allhallows on the Wall / London the 8th day of May 1765 and / approv'd by the Trustees then present / Rich^d Muilman / Chairman and 23rd May 1765 / Exhibited to me James Taylor Dated: 8th Day of May 1765 (as above) and 23rd May 1765

Signed and dated

1765

Medium and dimensions

Pen, sepia and pink washes, shaded within double ruled border on laid paper (455 x 670)

Hand

Dance, George Dance the Elder

Watermark

fleur-de-lis in crowned cartouche and VDL below and IV

Notes

On the hand, see note to [SM volume 19/18].

This shows a west tower of three stages plus cupola with a pedimented entrance approached by six steps. The exterior has a giant arcade of four bays with semicircular arches and plain pilasters. The western bay, wider and slightly stepped back, has a blind recessed arch, the other three bays Diocletian windows (changed to lunettes when built) at clerestory level set within blind arches. The raised door set in the easternmost bay and approached by a small double stair, was not carried out since the City Lands Committee in July 1765, decided on a footpath along the south side of the church.

The dates of the drawings refer to the second meeting between the contending architects and the vestry when Dance was appointed (8 May 1765) and when the vestry accepted the bid by Taylor for £2,941 (23 May 1765).

Two contract drawings at the Guildhall Library (Manuscripts Department, MS 11/976/31769 bundle) relate to [SM volume 19/18] and [SM volume 9/19]. A plan shows for example, a semicircular vestry on the north side of the church that is washed in pink to indicate that it was to be retained. This was built on the foundations of a Roman bastian; these were found to be unstable in April 1766 and Dance designed a new vestry. A section includes details of the decoration of the ceiling, the internal frieze and internal Ionic columns. The drawings are signed and dated in the same way as [SM volume 19/18] and [SM volume 19/19] and additionally 'This Plan [Section] was left with the Examiner at the time of my / examination in the Cause of Muilman against the Rector / Churchwardens Parishioners & Inhabitants of the Parish / of Allhallows on the Wall London and is the same that is / refer'd to & mentioned in my Deposition witness my hand / this 26^th Day of Jan^y 1769 Geo:Dance / Same Day this Plan [Section] was left with me by Mr Dance / Rob^t Dargnau'.
REPRODUCED. Stroud fig.17b.

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.

Browse (via the vertical menu to the left) and search results for Drawings include a mixture of Concise catalogue records – drawn from an outline list of the collection – and fuller records where drawings have been catalogued in more detail (an ongoing process).