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  • image SM volume 74/9

Reference number

SM volume 74/9

Purpose

[41] Design for side-aisle arch, 29 March 1792

Aspect

Copy of Elevation and Sections of the Semi Arches Bank Stock Office and (verso, pencil) section for clerestory arches and an unidentified part of an arch, and sketches for hall plan and oval vault or lantern

Scale

to a scale

Inscribed

as above, The Bank of England, a key A B C to Section through the / opening, Line of the Arch between Soffites, Line of Soffites springing from Pilasters and (verso, pencil) a calculation

Signed and dated

  • Copy 29th March 1792

Medium and dimensions

Pen, pencil, pale red ink and sepia wash on wove paper with three fold marks (505 x 670)

Hand

Soane office

Notes

Light pencil sketches of alternative arch shapes on the drawing demonstrate Soane's persistent experimentation with segmental versus semi-circular arching, probably both for reasons of structure and aesthetics.

The drawing shows, on the left, the elevation and partial structure of one of the hall's four end-bay arches and, on the right, the structure of one of the four side-aisle arches. The general form of the arches is shown as executed. However, the final facing of the end-bay arch is not drawn, indicating that this sheet may have been completed before the ornamentation was set. These arches are also shown in SM volume 74/21 and SM volume 74/37. The date of the drawing, 29 March 1792, suggests that the structure of the hall was set by this time.

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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