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  • image SM volume 74/11

Reference number

SM volume 74/11

Purpose

[19] Designs for north wall and side-aisle arches

Aspect

(verso) Transverse Section looking north with doorway in north wall and (verso, pencil) rough sketches for an arch structure, a pier base and an alternative wall elevation

Scale

bar scale of ½ inch to 1 foot

Inscribed

as above, The Bank of England, Section of the Bank Stock Office, (pencil) Make these panels like the other side, (pencil) calculation and some dimensions for the door given

Signed and dated

  • datable to 1792

Medium and dimensions

Pen, pencil, pale red ink, sepia, brown madder and pale blue washes, partly pricked for transfer on wove paper with three fold marks (520 x 662)

Hand

Soane office

Notes

This drawing shows the dimensions, structure and decoration more or less as built, including the banded rustication surmounted by panels, counters, grilles, a corner cupboard for storing ledgers and other Bank books, and the iron and glass lantern. However, the shaded doorway was not cut through this north wall, but in the opposite south wall leading to the Rotunda. The dimensions of the wall panels are also not exactly as executed.

There are some sketches on the drawing, presumably by Soane, including a blocking course above the right bay, and on the bottom of the sheet a foundation arcade and a pattern for the soffit of one of the lateral arches.

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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