Sir John Soane's Museum Drawings

Some 1,462 drawings produced by Soane and his office for his roles as Architect to the Bank of England and Attached Architect to the Office of Works with responsibility for Westminster and Whitehall are being catalogued as part of 'Money, Power and Politics: Sir John Soane's Architecture for the Regency State'. This project covers several of Soane's public commissions: alterations to the House of Lords and the House of Commons, the Board of Trade and Privy Council Offices, the Old Foreign Office, Nos 10 & 11 Downing Street and the New State Paper Office, as well as the Bank of England's Branch Banks, New Bank Buildings and the National Debt Redemption Office.

'Money, Power and Politics' has been generously funded by The Pilgrim Trust and the Leon Levy Foundation. Thanks to this funding, the Museum has been able to offer training and temporary employment to a recent graduate, Tom Drysdale, who is learning to catalogue under the tuition and supervision of Jill Lever. This project follows on from 'Building Sites' and is part of a wider mission to open up the Museum's collections to a worldwide audience. The expected completion date is January 2015.

 

Arranged chronologically by inscribed date or probable date. This means, for example, that the 27 drawings for the Pitt Cenotaph (drawings 43-46, 48-50, 59-61, 73-86, 98-100) are separated. There are 29 drawings for the front elevation in 14 variant designs (A-N) some of which could be termed 'alternative' rather than 'variant' (for example, the early six-bay designs) but for the sake of simplicity are not. There are 34 site and floor plans. The remainder include working drawings for the carpenter.

 

National Debt Redemption Office

 

W. Marston Acres in his invaluable book The Bank of England from Within... wrote of the National Debt Redemption Office that 'The National Debt Commissioners had, in 1811, leased from the Bank for a term of fourteen years a house at the south-east corner of Bank Street, which had been known previously as "Will's Coffee House", but by 1817 the business of the Commissioners had increased to such an extent that these premises became inconvenient, and the Directors of the Bank asked Soane to submit plans and an estimate for building an office in Old Jewry. The plans were approved in February 1818, and the existing houses belonging to the Bank in Old Jewry were then pulled down and a new building erected on the site. By the end of 1819 the National Debt Office was completed, and the Commissioners moved there in May 1820.

It was the wish of the Commissioners to place a statue of William Pitt in the new offices, and the Directors of the Bank, upon being consulted, declared that they had "no objection" to this being done. A Committee was appointed to collect subscriptions towards the cost of the statue, but no room could be found for it in the new building. At the request of the Chancellor of the Exchequer plans were prepared for enlargement of the National Debt Office, and by November 1823 the additional buildings had been completed and the statue placed therein.'

Acres' account is important because the design drawings catalogued here date from October 1817 to November 1818 though there are also two drawings that were exhibited at the Royal Academy in 1819 and 1823. The opening of the National Debt Office in May 1820 and the delayed realization of the Pitt Cenotaph three years later would not be evident from the drawings alone though there are some clues in the minutes of the meetings of the Committee of Building of the Bank of England (SM archive). However, the drawings do show that the original brief of two offices for the clerks, a hall for the public and an office and private apartments for the director expanded to include offices for new departments dealing with annuities, tontines, power of attorney, savings and so on; as well as accommodation for Richard Westmacott's bronze statue of William Pitt the Younger (1759-1806). Pitt had been instrumental in reducing the National Debt and reforming its management when he became Prime Minister, at the age of 24, in 1783. Soane knew Pitt for he had altered and added to Pitt's Holwoood House in Kent, 1786, 1796-99 (q.v.) and owed his appointment as architect to the Bank of England to Pitt's influence.

Though the Bank of England initially owned only about two-thirds of the site for the prospective National Debt Office, all the front elevations included the premises belonging to the firm of Messrs Mello, Pead & Co. who were soon bought out. Much time was spent by Soane and his office in designing and re-designing the principal elevation facing Old Jewry for which there are 14 variant designs (A-N). A programme of three storeys, attic and basement with round-headed windows (save for attic and basement) was consistently used through out. Every front elevation has on the left-hand side a narrow bay, only slightly wider than the 3 foot width of a door, that is inconspicuous until variant designs J to N. At the other end of the building, a single storey porch facing Meeting House Court appears (15-21) then disappears (23-24), re-appears (25-26) and disappears for good thereafter. Instead, there is a door in the left-hand bay of the side elevations (35,26,39) and later still, a door is shown on the right-hand side of the front elevation (58, 62, 63, 71, 89, 91). These marginal elements have been ignored when describing the front as six-bay (4, 9, 15) or five-bay (all of the remaining elevations and perspectives). The six-bay designs have four-bay attics (8, 9, 15), the early five-bay designs have three-bay attics (16, 17). Thereafter all of the five-bay fronts have full (five-bay) attics. Public entrance to the building is through two doors (second and fourth bays) except for the early designs with six bays (second and fifth bays). This is true of variant designs A to G but from H to N, there is a single large public entrance. In design H this is in the centre bay, in the following designs I-N it is in the second bay from the left. The public now enter the building through this off-centre door that takes them through the 'public hall' either directly to the proposed Cenotaph or, indirectly, to a series of ground floor offices (cf plan, drawing 55). The first floor (cf plan, drawing 68) now contains further offices served by a stair with an entrance on the extreme left of the building (see variant design J). Later designs for the front (K to N) balance the smaller left-hand door with a matching one on the right; both given more presence by a pediment or cornice.

Wall plans and sections as well as perspectives show the early introduction of the 'loggia' element in Soane's design for the front elevation. Properly, this refers to a covered open space, often arcaded, on one side of a building. Here, it shows itself in the recessed three central bays of door-window-door in variant designs C to G and five recessed bays of window-door-windows x 3 of J to N. The change was because of the location of the Pitt Cenotaph in the left-hand half of the building.

The building material was stone, rusticated and banded initially, then banded on the lower half of each storey only, then on the ground floor only and then none at all. All of the designs have pilasters of which most are panel pilasters. They may be applied to each storey or cover two storeys (giant pilasters) and serve to emphasise the projection and recession of the upper bays and to mark the distinction between the five-bay 'screen' and the narrow bay to the left with its utilitarian arrangement of door and windows. Drawing 47 is revealingly inscribed '... the Screen / in Front of the National Debt Office' which suggests something of how Soane viewed the designs for the principal elevation or facade.

For the side elevation facing Meeting House Court there are four different designs (35/36, 39, 72 and 90). There are none for the other side as the perspectives (21, 24, 26, 34, 40, 58, 91) show that there is here an existing house with a ground floor shop. Similarly, there are no (surviving) drawings for the elevation to the back where stood the New Bank Building in Princes Street designed by Soane in 1807-10 (q.v.). Other than rustication and pilasters, Soane's ornament for the building included skyline elements such as balustrading, antefixes and pediments in various configurations and (71) a choice of an acroterion decorated with anthemion and rosette or, a four-stage finial that was eventually used as an ornament for the interior of the Pitt Cenotaph (see drawing 79).

Ornamental details on the building include a 'spinning top' motif (drawings 4 and 9) first found in Soane's student design for a Triumphal Bridge, 1776. The source for this design is not known. The round-headed windows used in each of the variant designs offered scope for some kind of decorative treatment. Most of them were recessed and some (17-20, 26, 62) have the heads outlined with an elegant incised semicircle with Greek fret stops. Others have the semicircular head dressed in a paler stone (16, 37, 38, 39, 40, 41, 58, 62, 71, 89, 91). The final or near-final design N (drawings 89 and 91) has a string course below the first and second floors that has an elongated label under each window that appears as early as drawing 16 or in another form, drawing 15.

The planning of the National Debt Office was made more complicated but also more interesting by the introduction of the Cenotaph commemorating William Pitt the Younger. It's resolution in tribune form in a generous space with direct access from the outside must have been satisfying to Soane. The first drawing to include a reference to a Pitt memorial is a ground floor plan with a dais labelled 'Statue' (drawing 42, dated 16 December 1817). The tribune form was adopted from the start (43-46, dated 17-20 December 1817) and the location of it altered the overall plan for the National Debt Office (48-52, end of January 1818). Further designs included the only one not to follow the tribune form (61). A later plan (68, March-April 1818) shows the tribune in its own courtyard as do sections 80 and 81. Drawings for the Pitt Cenotaph were exhibited at the Royal Academy in 1819 and 1823 (81 and 98). Its form has been well described by Stroud: 'It occupied a rectangular space defined by four round-headed arches between which pendentives were linked to form the rim of a circular opening to an upper storey. Here a peristyle of eight Corinthian columns supported an entablature and a dome with a glazed lantern.'

During the period from October 1817 to November 1818 when most of the drawings for National Debt Office were made, there were six pupils in the office supervised by Soane's right-hand man - George Bailey and no clerks, assistants or improvers. All of the pupils contributed to the making of drawings, in particular Parke and Foxhall.

The National Debt Office with the Pitt Cenotaph was demolished in 1900. Pitt's statue is now in Pembroke College, Cambridge. There are in the Soane Museum, three models for the Pitt Cenotaph together with models of details. These were catalogued in 1969 by John Wilton-Ely (see reference below). At the moment almost all the models are stored while the model room is got ready for re-opening in 2014-15. This will be marked by a new catalogue of the models.

 

Literature: J. Soane, Designs for Public and Private Buildings, 1832, p.61, plate xlviii; W. Marston Acres, The Bank of England from Within, 1694-1900, 1931, volume II, pp.404-5; J. Wilton-Ely, 'The architectural models of Sir John Soane: a catalogue', in Architectural History, Journal of the Society of Architectural Historians of Great Britain, 1969, XII, pp.26-29, figs 17a-d, 181a-c; P. du Prey, Sir John Soane in series Catalogues of architectural drawings at the Victoria and Albert Museum, 1985, pp.87-88; D. Stroud, Sir John Soane, Architect, 1996, p.207; G. Waterfield (ed.), Soane and Death; the Tombs and Monuments of Sir John Soane, 1996, pp.112-113; P. Dean, Sir John Soane and London, 2006, pp. 37,167

 

Jill Lever, July 2013

Reference Number:

SM (1) 48/1/56 (2) 48/1/2 (3) 48/1/47 (4) 48/2/32 (5) 48/1/53

Purpose:

Early survey drawings and designs, 13-15 October 1817 (5)

Aspect:

1 Outline survey Plan of the Ground Floor

2 Survey Plan of the first floor

3 Ground floor plan 

4 Front elevation, plan of front wall and wall section (design A) with minor pencil additions by Soane

5 Ground floor plan by Soane

Hand:

(1) Foxhall or Parke (2) Soane (3-4) Edward Foxhall (1793-1862, pupil 1812-1821) and Henry Parke (1790-1835, pupil 1814-1820) (5) Soane (3-4 from Day Book)

(1)



(2)



(3)



(4)



(5)



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Reference Number:

SM (6) 48/1/46 (7) 48/1/45 (8) 48/1/44 (9) 48/2/10

Purpose:

Design 'No 1', October 1817 (4)

Aspect:

6 The Plan of the first Floor

7 The Plan of the two pair Story

8 The Plan of the Attic Story

9 Front elevation, wall plan and wall section (design A)

Hand:

(6-8) George Bailey (1792-1860, pupil then assistant, 1806-37, curator 1837-60) (9) office

(6)



(7)



(8)



(9)



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Reference Number:

SM (10) 48/1/52 (11) 48/1/51 (12) 48/1/50 (13) 48/1/49 (14) 48/1/48

Purpose:

Floor plans, October 1817 (5)

Aspect:

10 The Plan of the Basement

11 Plan of ground floor

12 The Plan of the first Floor

13 The plan of the two pair Story

14 The plan of the Attic Story

Hand:

(10-14) George Bailey (1792-1860, pupil then assistant, 1806-37, curator 1837-60)

(10)



(11)



(12)



(13)



(14)



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Reference Number:

SM (15) 48/2/8 (16) 48/2/12 (17) 48/2/9

Purpose:

Variant designs (B1-B4) for the front elevation with a three or four-bay attic storey, 23-25 October 1817 (3)

Aspect:

15 Front elevation, wall plan and section of wall

16 Front elevation, wall plan and section of wall

17 Front elevation, wall plan and section of wall with flier showing alternative details

Hand:

(15-17) Edward Foxhall (1793-1862, pupil 1812-1821) and Henry Parke (1790-1835, pupil 1814-1820) from Day Book (17) some additions and erasures by Soane

(15)



(16)



(17) flier down



(17) flier up



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Reference Number:

SM (18) 48/2/31 (19) 48/2/24 (20) 48/2/14 (21) 48/2/4

Purpose:

Variant designs (C1-C3) for the front elevation with a five-bay attic storey, 6 November 1817 (4)

Aspect:

18 Front elevation, wall plan and section of wall with rough pencil part-elevation and feint pencil detail

19 Front elevation, wall plan and section of wall

20 Front elevation, wall plan and section of wall

21 Perspective with neighbouring houses and figures

Hand:

George Bailey (1792-1860, pupil then assistant, 1806-37, curator 1837-60), Edward Foxhall (1793-1862, pupil 1812-1821) Henry Parke (1790-1835, pupil 1814-1820) from Day Book

(18)



(19)



(20)



(21)



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Reference Number:

SM (22) 48/2/23 (23) 48/2/15 (24) 48/2/6

Purpose:

Variant designs (D1-D2) for a full five-bay front elevation, 7 November 1817 (3)

Aspect:

22 Front elevation, wall plan and section of wall

23 Front elevation, wall plan and section of wall for Design No (blank)

24 Perspective

Hand:

Edward Foxhall (1793-1862, pupil 1812-1821) and Henry Parke (1790-1835, pupil 1814-1820) from Day Book

(22)



(23)



(24)



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Reference Number:

SM (25) 48/2/11 (26) 48/2/26

Purpose:

Variant design (E) for the front elevation with a five-bay attic storey, 7 November 1817 (2)

Aspect:

25 Front elevation

26 Perspective

Hand:

George Bailey (1792-1860, pupil then assistant, 1806-37, curator 1837-60) with Edward Foxhall (1793-1862, pupil 1812-1821) and Henry Parke (1790-1835, pupil 1814-1820) from Day Book

(25)



(26)



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Reference Number:

SM (27) 48/1/42 (28) 48/1/43

Purpose:

Design: ground floor plans dated 17-18 November 1817 (2)

Aspect:

27 Plan of the Ground, or Office Floor

28 Plan of the Ground or Office Floor

Hand:

(27-28) Henry Parke (1790-1835, pupil 1814-1820) from Day Book and Edward Foxhall (1793-1862, pupil 1812-1821)

(27)



(28)



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Reference Number:

SM (29) 48/1/57 (30) 48/1/55 (31) 48/1/54

Purpose:

Survey plan and copies, November-December 1817 (3)

Aspect:

29-31 Plan of site and two copies

Hand:

Henry Parke (1790-1835, pupil 1814-1820) and Edward Foxhall (1793-1862, pupil 1812-1821) from Day Book for 18 December 1817

(29)



(30)



(31)



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Reference Number:

SM (32) 48/2/18 (33) 48/2/30 (34) 48/2/1 (35) 48/2/26 (36) 48/2/17

Purpose:

Variant design (F) for the front elevation with a five-bay attic storey, and first design for the side elevation to Meeting House Court, 18 November 1817 (5)

Aspect:

32 Front Elevation next the Old Jewry, wall plan and section of wall 

33 Front  Elevation next the Old Jewry, wall plan and section of wall 

34 Perspective 

35-36 Side Elevation next Meeting House Court

Hand:

Henry Parke (1790-1835, pupil 1814-1820) from Day Book ('a view of a design' drawing 34?)

(32)



(33)



(34)



(35)



(36)



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Reference Number:

SM (37) 48/2/28 (38) 48/2/16 (39) 48/2/29

Purpose:

Variant design (G) for the front elevation with a five-bay attic storey and second design for the side elevation to Meeting House Court, 25 November 1817 (3)

Aspect:

37-38 Elevation of the Front next the Old Jewry

39 Elevation of the Front next Meeting House Court

Hand:

(38-39) Henry Parke (1790-1835, pupil 1814-1820) Day Book under 14 March. Nothing recorded in Day Book under 25 November 1817 but under 24 March 'About Plans and Elevations'.

(37)



(38)



(39)



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Reference Number:

SM (40) 48/2/2

Purpose:

Variant design (H) for the front elevation with a five-bay attic storey, 16 December 1817

Aspect:

40 Front elevation for The National Debt Redemption and Life Annuity Office

Hand:

Henry Parke (1790-1835, pupil 1814-1820) from Day Book ('perspective section')

(40)



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Reference Number:

SM (41) 48/1/41 (42) 48/1/40

Purpose:

Designs for the ground floor, 15-16 December 1817 (2)

Aspect:

41 Plan of the ground floor excluding the Mello, Pead and Co. premises

42 Plan of the Ground or Office Floor with pencil additions

Hand:

(41-42) Edward Foxhall (1793-1862, pupil 1812-1821) and Henry Parke (1790-1835, pupil 1814-1820) from Day Book

(41)



(42)



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Reference Number:

SM (43) 48/1/5 (44) 48/1/3 (45) 48/1/6 (46) 48/1/26

Purpose:

First designs by Soane for a Cenotaph to commemorate William Pitt the Younger, 17-20 December 1817 (4)

Aspect:

43 Section through three floors with an Ionic order

44 Section through three floors with a Corinthian order

45 Cross section through three floors with Corinthian and Ionic orders and a lobby

46 Part-plan of ground floor with plans of ceilings including banking hall and Cenotaph

Hand:

(43-46) Soane dated these drawings, the Day Book entries give Henry Parke (1790-1835, pupil 1814-1820) as making 'perspective sections'

(43)



(44)



(45)



(46)



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Reference Number:

SM (47) 48/2/33

Purpose:

Sectional design for the front elevation, 15 January 1818

Aspect:

47 Section of the Screen / in Front of the National Debt Office with three details including one for 14 Rustices

Hand:

Charles Edward Papendiek (1801-1835, pupil January 1818-March 1824) from Day Book

(47)



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Reference Number:

SM (48) 48/1/34 (49) 48/1/32 (50) 48/1/31

Purpose:

Alternative designs by Soane for the ground floor plan related to positioning the Pitt Cenotaph, 23-25 January 1818 (3)

Aspect:

48 Rough ground floor plan

49-50 Rough ground floor plans with a diagonal axis

Hand:

(48-50) outline plans by George Bailey (1792-1860, pupil then assistant, 1806-37, curator 1837-60) with rough designs for new layouts by Soane

(48)



(49)



(50)



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Reference Number:

SM (51) 48/1/39 (52) 48/1/36

Purpose:

Presentation design ? No.1 for laying before the Committee for Building, January 1818 (2)

Aspect:

51 Plan of the ground floor with some rough additions

52 Plan of the ground floor

Hand:

(51-52) George Bailey (1792-1860, pupil then assistant, 1806-37, curator 1837-60)

(51)



(52)



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Reference Number:

SM (53) 48/1/38 (54) 48/1/37

Purpose:

Presentation design No.2 for laying before the Committee for Building, January 1818 (2)

Aspect:

53 Preliminary Plan of the Ground or Office Floor

54 Plan of the Ground, or Office Floor and No 2

Hand:

(53-54) George Bailey (1792-1860, pupil then assistant, 1806-37, curator 1837-60)

(53)



(54)



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Reference Number:

SM (55) 48/1/33 (56) 48/1/35 (57) 48/2/13 (58) 48/2/3

Purpose:

Presentation design No. 3 including variant designs (I and J) for the front elevation, for laying before the Committee for Building, January 1818 (4)

Aspect:

55 Plan of the whole of the ground floor with alternative wall plans and with amendments added by Soane

56 Plan of the entire Hall, or Ground Floor
57 Front elevation

58 Perspective

Hand:

(55-58) George Bailey (1792-1860, pupil then assistant, 1806-37, curator 1837-60)

(55) recto



(55) verso



(56)



(57)



(58)



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Reference Number:

SM (59) volume 60/176 (60) volume 60/177 (61) volume 60/178

Purpose:

Early alternative designs for the Pitt Cenotaph, one dated 28 January 1818 (3)

Aspect:

59-60 Perspectival sketch sections

61 Section

Hand:

(59-60) Henry Parke 1790-1835) Day Book 'Making Views &c  of / Mausoleum' (61) Edward Foxhall (1793-1862, pupil 1812-1821) or Henry Parke (1790-1835, pupil 1814-1820) ?

(59)



(60)



(61)



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Reference Number:

SM (62) 48/2/20 (63) 48/2/10

Purpose:

Variant designs (K and L) for a  front elevation of three storeys, 13 March 1818 (2)

Aspect:

62 Front elevation and section of wall

63 Front elevation and incomplete section of wall

Hand:

(62-63) by the same office hand ? Henry Burges pupil 1817-1821 (Day Book 'Making Elevations' ...)

(62)



(63)



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Reference Number:

SM (64) 11/3/13

Purpose:

Survey plan, 16 March 1818

Aspect:

64 Site plan of the National Debt Redemption / Life Annuity Office

 

Hand:

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

(64)



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Reference Number:

SM (65) 56/11/47 verso (66) 48/2/34 (67) 48/1/29 (68) 48/1/29 (69) 48/1/30 (70) 48/1/22

Purpose:

Designs - floor plans, March-April, June, October 1818 (6)

Aspect:

65 Part-plan of the ground floor

66 Plan of the Principal Floor of the National Debt Redemption and Life Annuities Office / The Old Jewry

67 Plan of the ground floor

68 Plan of the One Pair Floor

69 Plan of the Basement Story with slight pencil elevation by ? Soane

70 Plan of the basement

Hand:

(65-67) George Bailey (1792-1860, pupil then assistant, 1806-37, curator 1837-60) (68) office 

(69) office, Soane (70) ? Henry Burges pupil 1817-1821) no Day Book

(65)



(66)



(67) recto



(67) verso



(69)



(70) recto



(70) verso



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Reference Number:

SM (71) 48/2/22 (72) 48/2/21

Purpose:

Variant design (M) for front and side elevations of three storeys, 12 April 1818 (2)

Aspect:

71 Front elevation and section of wall

72 Side elevation and section of wall

Hand:

(71-72) office

(71)



(72)



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Reference Number:

SM (73) 48/1/4 (74) 48/1/7 (75) 48/1/8 (76) 48/1/9 (77) 48/1/10

Purpose:

Further alternative designs for the Pitt Cenotaph, 9-12 April, 1818 (5)

Aspect:

73 Cross section

74 Longitudinal section

75 Cross section

76 Interior perspective of Cenotaph with hall in front

77 Drawings 73-74 copied to a reduced scale together with two plans. The left-hand plan relates to drawing 76, the right-hand plan is at first floor level and appears in the same form on drawing 68 (general plan of the first floor dated 17 March 1818)

Hand:

(73-77) various office hands no Day Book

(73)



(74)



(75)



(76)



(77)



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Reference Number:

SM (78) 48/1/12 (79) 48/1/13

Purpose:

Variant designs for the Pitt Cenotaph and for sarcophagi and finials, September 1818 (2)

Aspect:

78 Section through first floor and dome, the ground floor incomplete, verso: section through first floor and dome

79 Plan and elevations with section of steps

Hand:

(78) office (79) office and dated by Soane

(78) recto



(78) verso



(79)



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Reference Number:

SM (80) 48/1/11 (81) P401

Purpose:

Pitt Cenotaph: further alternative design together with drawing made for exhibition at the Royal Academy, 1819 (2)

Aspect:

80 Section through the National Debt Redemption Office with design for the Cenotaph

81 Perspectival section of the Cenotaph exhibited at the Royal Academy in 1819

Hand:

(80) office (81) Henry Parke (1790-1835, pupil 1814-1820)

(80)



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Reference Number:

SM (82) 48/1/23 (83) 48/1/24 (84) 48/1/27 (85) 48/1/25 (86) 48/1/28

Purpose:

Designs for floors and ceilings for the Pitt Cenotaph, October, November and not dated, 1818 (5)

Aspect:

82 Floor plan and plan of the ceiling of the hall to the Cenotaph

83 Floor plan and plan of ceiling to the Cenotaph with pencil amendments by Soane

84-85 Floor plan and plan of the ceiling to the Cenotaph

86 Floor plan of the Cenotaph

Hand:

(82-86) office no Day Book

(82) recto



(82) verso



(83) recto



(83) verso



(84)



(85)



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Reference Number:

SM (87) 48/1/20 (88) 48/1/19

Purpose:

Working drawings for the front elevation, September 1818 (2)

Aspect:

87 Elevation of the National Debt Office, ground floor wall plan and part-wall section, variant (pencil) detail of door, (pencil) detail of antefix, verso: (pencil) incomplete five bay front

88 Elevation of Street door into MHigham's Apartment and profile

Hand:

(87) ? George Bailey (1792-1860, pupil then assistant, 1806-37, curator 1837-60) (88) office (no Day Book)

(87) recto



(87) verso



(88)



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Reference Number:

SM (89) 48/2/25 (90) 48/2/27 (91) 48/2/7

Purpose:

Presentation drawings of the near-final design for the front elevation (N1, N2), 26 September 1818 (3)

Aspect:

89 Front elevation and wall section

90 Side elevation and wall section

91 Perspective

Hand:

(89-91) ? Henry Parke (1790-1835, pupil 1814-1820)

(89)



(90)



(91)



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Reference Number:

SM (92) 48/1/21 (93) 48/1/18 (94) 48/1/15 (95) 48/1/16 (96) 48/1/17

Purpose:

Working drawings for the carpenter: floors, partitions, stair: August, November 1818 (6)

Aspect:

92 Plan of the ground floor showing the floor timbers

93 Plan of the Savings Bank Office showing the floor timbers

94 Elevation of a trussed partition; verso, internal elevation of a window (not related to the National Debt Office)

95 Two elevations of cross-braced partitions

96 Two elevations of cross-braced partitions; verso, elevation, section and detail for a stair with five treads

Hand:

(92-96) office (no Day Book)

(92) recto



(92) verso



(93) recto



(93) verso



(94)



(95) recto



(95) verso



(96) recto



(96) verso



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Reference Number:

SM (97) 48/1/14

Purpose:

Working drawing for a chimneypiece

Aspect:

97 Elevation and full size details with a pencil amendment

Hand:

office (no Day Book)

(97)



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Reference Number:

SM (98) P79

Purpose:

Drawing made for exhibition at the Royal Academy of the Pitt Cenotaph, 1823

Aspect:

98 Composite drawing consisting of an inset plan, three interior perspectives, three part-interior perspectives and one exterior perspective

Hand:

Joseph Michael Gandy (1771-1843)

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Reference Number:

SM (99) 48/8/1 (100) 48/8/2

Purpose:

Preliminary drawings of the Pitt Cenotaph made for publication, 1827 (2)

Aspect:

99 Interior perspective of the ground and first floor of the Cenotaph looking towards the entrance hall

100 Interior perspective of the ground floor of the Cenotaph with Pitt's statue

Hand:

George Wightwick (1802-1872)

(99)



(100)



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