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image SM 54/1/17

Reference number

SM 54/1/17

Purpose

[26] Finished drawing for the sides and front of Holy Trinity Church, Marylebone, London, November 1820

Aspect

Elevation and perspective view showing the west, north and south fronts of a church. Below is an elevation of the south front of a nine-bay church. The first and ninth bays contain rectangular latticed windows with console hood mouldings and are articulated by a screen of two Doric columns. The second and eighth bays have arched latticed windows within relieving arches and the third to seventh bays replicate this on a larger scale. The building has a Doric frieze and a shallow pitched roof, surmounted by an attic roof with five bays of latticed square windows. This is connected by a stone balustrade to towers at each end with a single latticed window. Above is a perspective showing the west and north fronts of a five-by-nine-bay church. The north front is identical to the elevation above, and the west front shows steps leading to a recessed series of four fluted Doric Columns. The entrance is flanked by single bays containing rectangular latticed windows with console hood mouldings

Scale

bar scale of 17/10 inches to 10 feet

Inscribed

Design for a Church proposed to be erected in the Parish of St. Marylebone. / Design No..2. / Front Extends 150: 0 ¾ / View of the North & West Fronts. / H.

Signed and dated

  • November 1820
    Lincolns Inn Fields. / November. 1820

Medium and dimensions

Pen, wash, coloured washes of Payne’s grey, brown, sepia and stone within an octuplet ruled border, and pricked for transfer on wove paper (950 x 650)

Hand

Soane Office, draughtsman

Watermark

J WHATMAN / 1820

Literature

Carr, 1976, vol. II 354, vol. III p. 829 fig. 148

Level

Drawing

If you have any further information about this object, please contact us: drawings@soane.org.uk

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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