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  • image SM 9/1/16
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Reference number

SM 9/1/16

Purpose

[6] Alternative design for the site of Moorfields and Bethlehem Hospital, for the improvements proposed by the Corporation of the City of London to George Dance's designs, 20 October 1808

Aspect

Plan A / For the general Improvement of the Scite of / Moorfields and Bethlehem Hospital / as agreed to by the / Select Committee of Bridge House Lands / 20th Octr 1808 (on Bridge House Lands see Notes below)

Scale

bar scale

Inscribed

as above, and labelled: London Wall, Broker Row (twice), Paved Stones, New Broad Street, Spinning Wheel Alley, Broad Street Buildings, Wilson Street, South Street, Rope Makers Street, Short Street, South, East, North, West, 500 by 345, 60.0 (twice)

Signed and dated

  • Office of Works / Guildhall / Octr 20th 1808

Medium and dimensions

Pen and watercolour, pricked for transfer, within single ruled border, on wove paper with coloured washes (711 x 960)

Hand

George Dance (1741-1825)

Notes

This drawing shows a square on a semicircular plan. SM 9/1/13, SM 9/1/14, SM 9/1/15 and SM 9/1/17 show the site as the 'London Amphitheatre' and oval in plan.

As a corollary to his position as Clerk of the City Works to the City of London, George Dance fulfilled a similar role to the Bridge House Estate. The primary fuction of this ancient institution was the maintenance of London Bridge but over five centuries, gifts and legacies including land and properties inside the City of London and further afield had widened its scope. Bridge House itself was situated in Tooley Street, Southwark. (D.Stroud, George Dance, architect, 1741-1825, 1971, p.34)

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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