Working drawings for alterations to the entrance to the bank (No. 8), April-May 1830

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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
  - The Bank of England Branch Banks, 1826-1831 (353)
    - Manchester: Bank of England branch: survey plan of premises in Norfolk Street, survey plans and designs for alterations in two phases for premises at 35 King Street, 1826-1831 (123)

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Reference number

SM (76) 56/1/24

Purpose

Working drawings for alterations to the entrance to the bank (No. 8), April-May 1830

Aspect

76 Plan of the Steps at Entrance to Bank, elevation of the steps and entrance, Plan of Brickwork under Steps, and details of Parts of Door Frame and Doors at Entrance to the Bank

Scale

bar scale of ½ inch to 1 foot and Full Size

Inscribed

as above, Bank of England Branch / at Manchester, (N^o 8) (twice), labelled: Folding Door / see parts at large, Old Swing Doors, presumed level of paving, Ashlaring 9" thick, ½ an inch before ashlaring, Level of Floor, Huddersfield Stone, To correspond with / the doorway at the / opposite End, Iron, and some dimensions given

Signed and dated

Lincolns Inn Fields / April 1830 and J.S. (John Soane) / 26 May 1830

Medium and dimensions

Pen, sepia, pink, yellow, burnt Sienna and blue washes, pricked for transfer on wove paper (535 x 735)

Hand

George Bailey (1792-1860, pupil then assistant 1806-37, curator 1837-60)

Watermark

Smith & Allnutt 1823

Notes

A detailed description of the new entrance is on page 6 of the Specification (drawing 56). The swing doors 'are to be removed from the present entrance to the bank and fitted and hung to the new enclosure at entrance thereto' (p. 22). This design was not executed, and instead the new entrance was built to a different design (see drawings 90 and 96).

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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