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  • image Image 1 for SM volume 74/41
  • image Image 2 for SM volume 74/41
  • image Image 1 for SM volume 74/41
  • image Image 2 for SM volume 74/41

Reference number

SM volume 74/41

Purpose

[39] Preliminary working drawing for wall piers

Aspect

Plan of the Pier above the floor / ½ the full size and Elevation of the Pilaster / ½ the full size and (verso) Piers in the Bank Stock Office and Top of the Pilaster ½ the full size, as executed

Scale

½ full size

Inscribed

as above, The Bank, Bank Stock Office, calculation and (verso) The Bank of England

Signed and dated

  • datable to March 1792

Medium and dimensions

Pen, pencil, pale red ink and sepia wash on laid paper with four fold marks (662 x 507)

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 74/42 and SM volume 74/40 are large-scale working drawings for the hall's piers. This drawing shows the details for the four central piers.

The plan on the recto of the drawing is a copy of the plan on the verso of SM volume 74/40, except that the fluting on the left-hand facet has been filled in with wash, correcting the latter drawing's mistake of indicating fluting on three sides of the pier instead of two as executed. In the upper part of the recto and on the verso are large-scale elevations of the bottom and top, respectively, of the triple-fluted pilasters, clearly showing the austere rectilinearity of the profiles. Along the recto's left margin is a light pencil study for a column base.

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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