[44] Site progress drawing for the later south or south-east Transfer Office, 28 April 1818

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Sir John Soane office drawings: the drawings of Sir John Soane and the office of Sir John Soane
- Bank of England
  - Bank of England, City of London for the Governor and Company of the Bank of England, 1788-1834 (1356)
    - 1817-1833 Rebuilding of offices in the south-east and the façade, temporary office spaces and presentation drawings (221)
      - South and south-east Transfer Offices, 1817-23 (115)

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Reference number

SM volume 47/20

Purpose

[44] Site progress drawing for the later south or south-east Transfer Office, 28 April 1818

Aspect

Perspective of construction work and a temporary roof

Signed and dated

april 28^th 1818

Hand

Frank Copland (fl. 1817-1820)

Notes

This drawing, SM volume 47/16, SM volume 47/18, SM volume 71/27, SM volume 71/28, SM volume 71/29 and SM volume 71/30 probably show the construction process of the later south-east Transfer Office, given the dates of three of the drawings (as later progress drawings show the south Transfer Office mid-demolition in 1821).

This drawing shows the south-east Transfer Office with a set of piers (centre) at the same stage of construction as those shown in SM volume 47/18. Another set of piers is just visible in the corner. Blocks of masonry lie ready to be used for the upper piers and arches. Scaffolding is shown, as well as a temporary roof, necessary after the destruction of Taylor's ceiling. In the background is a 'windlass' covered by a cloth. A windlass was a machine used for lifting heavy weights. It was typically comprised of a cylindrical barrel with a winch attached, rotated by the turn of a crank.

Literature

C. Woodward, Buildings in progress: Soane's views of construction, an exhibition catalogue for the Soane Gallery, 1995, p.13

Level

Drawing

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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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