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  • image SM volume 74/24

Reference number

SM volume 74/24

Purpose

[14] Preliminary longitudinal section with fan-light lunettes

Aspect

Longitudinal section looking east and (verso, pencil) outlined transverse section for the hall

Scale

bar scale of ¼ inch to 1 foot

Inscribed

The Bank of England, Section of the Bank Stock Office and some dimensions given

Signed and dated

  • datable to March 1792

Medium and dimensions

Pen, pencil, pale red ink, sepia and pale blue washes. partly pricked for transfer on wove paper with one fold mark (519 x 593)

Hand

Soane office

Notes

This drawing shows the dimensions and structure of the hall as realised, as well as the idea of banded wall rustication and fluted pilasters. However, in the built version, the square wall panels were enlarged into rectangles, the fluting extended all the way down the pilasters, the pilaster caps reduced, the garlands in the lantern roof omitted, and the shape of the lunette and lantern lights modified, as was the shape of the lantern roof itself, as seen in SM volume 74/22.

Very lightly sketched in the spandrel of the side arches are serpentine motifs and in the central pendentives appear fluting (neither motif realised). However, on the verso, sketched lightly in pencil, is an outlined transverse section of the hall showing the general shape as executed and with roundels in the pendentives, similar to the lion's-mask and rosette paterae eventually realised. Along with the fan-light lunettes, these elements relate to SM volume 74/16 and SM volume 74/31 and thus probably date this drawing to c. March 1792.

Level

Drawing

Digitisation of the Drawings Collection has been made possible through the generosity of the Leon Levy Foundation

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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