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  • image SM volume 74/43

Reference number

SM volume 74/43

Purpose

[32] Working drawing for lantern piers

Aspect

Elevation and section for base and shaft of lantern pier

Scale

full size

Inscribed

as above, The Bank of England, Bank Stock Offce, Pier of Lantern light (Full Size.), (pencil) a calculation and dimension given and (verso) Bank Stock Office, Plans and Elevations of / the Piers to the Lantern / Light the full size

Signed and dated

  • datable to 1792-93

Medium and dimensions

Pen, pencil, pale red ink, sepia and pale blue washes on wove paper with three fold marks (638 x 532)

Hand

attributed to William Lodder (assistant 1789-?) or Charles Ebdon (assistant 1791-1792)

Notes

This drawing shows at full-size the pedestal and bottom of the pilaster-strip shaft of one of the twelve identical, fourteen-inch wide piers ringing the hall's lantern and supporting its circular roof. In a pair of pencil sketched plans in the upper margin, the pier's octagonal plan alternates long and short sides so as to form a diamond. Into the short, inner side is set an arched brace helping to support the lantern ceiling. On the drawing, this inner face is cut away to show the profile of one of the arch braces delineated by a narrow vertical field of blue wash.

As executed, the piers omitted the curved base beneath the shaft and in between the pedestals was placed a continuous sill (see SM volume 74/49).

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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