[39] Preliminary design for the attic over a portico on a segmental plan, 10 December 1804

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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)
    - 1799-1810 Expansions north-west and rebuilding of existing offices (487)
      - Tivoli Corner 1803-1805 (61)

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Reference number

SM 1/6/26

Purpose

[39] Preliminary design for the attic over a portico on a segmental plan, 10 December 1804

Aspect

Half-plan of the attic; elevation of the attic pedestal over the paired columns; front half-elevation of the attic; details of cornice; rough (pencil) half-elevation of a pediment; (verso) details and rough (feint pencil) elevation of an entablature

Scale

bar scale

Inscribed

The Bank of England, Sketch of a Design for part of the Attic / at North West Corner, dimensions given and calculations; (verso, feint pencil) some dimensions given

Signed and dated

LIF / Dec^r10: 1804

Hand

Soane

Watermark

1802

Notes

After realising the design for a four-columned portico on a segmental plan, between twin columns set at oblique angles to the main face, Soane set about designing the attic. The temple of Vesta at Tivoli does not have an attic intact, leaving Soane to his own devices for the design of the Bank's north-west corner. The design for the projecting paired columns at the ends of the portico are shown in SM 1/6/26 in their final form, with panelled pilasters supporting a scrolled acroterion enclosing rosettes. The tympanum would later include a scallop shell ornament. The design for the attic's main face, however, is still in development. In the half-elevation on this drawing it is consists of a pedestal with three windows supporting a wall of ornamented panels joined by small pedestals each capped by an antefix and urn. The rough half-elevation of a pediment suggests the final design for the attic.

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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