D R A W I N G VII 58

Figure 26: Lloyds Leadenhall street by Sydney R. Jones, 1928.

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20m 0 20m 40m 60m 80m Figure 25: Lloyds Leadenhall street Historical Map by Author, (1924-1951), 2022. N

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D R A W I N G VIII

Bush House, Strand is a pencil drawing that was created in 1930-31 and captures the church of St. Mary and the American edifice, Bush House.65 The drawing’s vantage point is from the pavement as indicated in the plan and looks towards Bush House toward the left of the composition. The curved pavement and road occupy the centre of the composition with St. Clements Danes Church in the background as the focal point and the church of St. Mary on the right of the page. People and cars that reflect the time fill the centre of the composition and clouds are lightly suggested above between the two buildings on either side. There is a notable difference between light and dark within this drawing that is articulated through heavy lines, visible on the elevation of the church of St. Mary and the colonnades of Bush House, against light lines, as opposed to shading like S.R.J’s rendition of the Church of St. Michael in chapter one. The scale of the colonnades in relation to the simple gestures of people directly in front ignites the imagination of how people might have transitioned from the street across or into the building.

Again, the road is loosely drawn but these gestures are concentrated underneath vehicles, with dark values equal to the weight of what is reflected, the shading could indicate either shadow or reflection in the water and although the floor appears to have a sheen to it that resembles water, it appears to be representing floor shadows. The pavement floor below people walking is sketched in a lighter value but also only located under the entourage in the scene which implies that they are tracks left from the movement of the people and cars, this creates a juxtaposed scene. The pavement is filled with people, there are more discernible figures in the foreground, some appearing to be in a stride of movement, faintly sketched for an ephemeral appearance. Further in the distance the figures become denser and are more suggestive as they have less detail but serve in creating an impression of movement. However, it is not only the archetypal elements of travel that contribute to the signification of movement within the drawing. The tower of St Clement Danes Church in the distance resides as what Gordon Cullen coined the ‘focal point’, a point within the city that can be seen from afar and directs people towards it for congregational gatherings and within this drawing, given the orientation of traffic, it appears to be the destination for the figures that express movement.66 The placement of the church of St Mary creates an instance of punctuation, terminating the view

directly to St Clement Danes Church which creates a point of interest in the foreground of the drawing where activity and movement is concentrated.67

Through the use of archetypal figures and their relationship to buildings in the distance, specifically St Clement Danes Church, S.R.J is able to illustrate movement by suggesting an extrinsic relationship between the people in the foreground and buildings in the distance. As seen in many of S.R.J’s drawings, flecked line work with an ephemeral pencil technique also creates the impression of motion.

Figure 27: Bush House, Strand by Sydney R. Jone, 1931.

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