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  • image SM archive 14/80/1

Reference number

SM archive 14/80/1

Purpose

[64] Study for four-bay scheme with clerestory lunettes, 11 December 1791

Aspect

Rough plan, transverse section looking north, interior perspective looking north and details, with dimensions given

Scale

1/10 inch to 1 foot

Inscribed

G, (Soane, pencil) Recd at Barnet, calculations and dimensions given

Signed and dated

  • (Soane, pencil) Decr 11, 1791

Medium and dimensions

Brown pen, hatching on laid secretary paper with four fold marks (204 x 320)

Hand

George Dance (1741-1825)

Watermark

Britannia with spear, shield and olive brach in crowned roundel and a bell below, and part of W

Notes

This study is for a four-bay, basilican scheme with a cross-vaulted nave, barrel-vaulted side aisles separated from the nave by counters and interlinked by archways, and clerestory semi-circular lunettes along three sides. The scheme reuses Taylor's existing foundations, as the dimensions in the plan show, placing new piers at every other existing column (see SM volume 74/1) to make three main bays plus a half-bay with a stove at the north end.

The inscriptions in Soane's hand on the drawing indicate that he received it in Barnet, north of London, on Sunday 11 December 1791, during the five-day period from 8 to 12 December the Day Book records his absence from home.

Literature

D. Abramson, Building the Bank of England: money, architecture, society 1694-1942, 2005, p. 105
M. Richardson & M. Stevens (ed.), John Soane architect: master of space and light, Royal Academy of Arts, 1999, p. 226, cat. 124

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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