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  • image SM 9/3/19

Reference number

SM 9/3/19

Purpose

[5] Survey of the existing property, with preliminary design for the north-west extension and the realigned Princes Street and a design for a domed central pavilion on Lothbury Street, 1800

Aspect

Site plan of the north-east corner showing holdings and outline of the proposed Bank extension; elevation of the existing Lothbury Street front and elevation of the proposed Lothbury Street front showing central four-columned projection surmounted by a stepped dome

Scale

bar scale

Inscribed

The Bank of England, Entrance into the Bank / from Lothbury, Lothbury (twice), Princes Street, Drapers Court (twice) holdings labelled, including: Messrs Elliot & Co / Empty, Messrs Clive & Co / Empty, Grocers Co / Beadles House, The Crown / at Will

Hand

Soane office

Notes

This drawing, SM 9/3/12, SM 9/3/8 and SM 9/3/18 show variant designs for the screen wall on the north side of the Bank, on Lothbury Street. The designs include a grandiose projecting blind portico in the centre of the wall. The pavilion-like projection consisted of four raised columns in antis framed by pilasters and surmounted by a dome. The drawings show slightly varying designs for the dome.

In the drawing, each holding is labelled with the house number, the owner's name, the final year of the lease and the rent. This drawing apparently serves as a guide for acquiring the properties. Judging from the outline of the proposed building, Soane had already begun designing the screen wall of the new extension.

Literature: W. Marston Acres, The Bank of England from within, Oxford, 1931. pp. 397, 476-477

Level

Drawing

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

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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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