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  • image SM 9/3/17

Reference number

SM 9/3/17

Purpose

[3] Design for the new iron railing at the north-west corner, January 1807

Aspect

Plan shewing the new Iron Railing / &c about the Bank in Lothbury / & Princes Street, with the dimensions / of the different Streets &c

Inscribed

as above, (Soane): Submitted to the Buildg / Committee & approved. / J.S. Jan. 15 1807, key A and B referring to plan (Soane): Jan 15 1807 // A. altered in the Committee / to a Curve line // B. Iron railing like that / now at C, Line of Iron Railing (twice), Design 1, Gate, Mr greaves / on Lease, East side of Barth. Lane, Threadneedle Street / No.69 / 1 East End of 69, dimensions given, and plan labelled in an office hand: Grocer's Hall Garden, Mr Hancock's House, Threadneedle Street, Bank Street, Bartholomew Lane, Whalebone Court, Tokenhouse Yard, Church Passage, Lothbury, Church, Founders Hall Court, Cover'd Way, The Bank of England

Signed and dated

  • Jan. 15. 1807

Hand

Soane office

Notes

In 1807 it was decided that a railing should be erected at the north-west corner of the Bank, separating the Bank's grounds from the public Princes Street and Lothbury. Again in March 1809, the directors decided that a railing should be installed at the front of the Bank, on Threadneedle Street, and on St Bartholomew's Lane' for the purpose of doing away the inconveniencees and nuisances now sustained by fruiterers, porters, etc., placing their goods and parcels on the stonework.' (Committee of Building minutes)

Literature

W. Marston Acres, The Bank of England from within, Oxford, 1931, p. 402

Level

Drawing

Digitisation of the Drawings Collection has been made possible through the generosity of the Leon Levy Foundation

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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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