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  • image SM volume 74/42

Reference number

SM volume 74/42

Purpose

[37] Preliminary working drawing for wall piers, 1 March 1792

Aspect

Plan of Angle Pier half the full Size and (verso) Plan of Pilaster next Wall opposite Angle Pilaster ½ full size

Scale

½ full size

Inscribed

as above, The Bank of England, Bank Stock Office, Wall Line (twice) and (verso, pencil) calculation

Signed and dated

  • (verso) March 1st 1792

Medium and dimensions

Pen, pencil and pale red ink on wove paper with six fold marks (533 x 613)

Hand

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

Notes

On the rectos and the versos of this drawing, SM volume 74/40 and SM volume 74/41 are large-scale working drawings for the hall's piers. This drawing shows the details for the piers on the perimeter.

The plans on the verso and recto of the drawing indicate fluting on one more side than was actually realised. In the corners no fluted pilasters were applied at all. Along the walls, only one fluted pilaster was applied, facing into the side-arm. The 1 March 1792 date indicates that Soane was detailing the hall's piers before he had settled on its overall design (see the preliminary sections of SM volume 74/19 and SM volume 74/28, dated 18 and 10 March 1792). In the margin on the recto is a light pencil sketch of a pedestal.

The multiple fold marks on the drawing indicates how it was frequently used and folded for transport to and from Soane's Great Scotland Yard and Bank offices.

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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