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image SM 54/1/24

Reference number

SM 54/1/24

Purpose

[46] Finished drawing for variant designs for the interior of Holy Trinity Church, Marylebone, London, 1822

Aspect

Two transverse split-sections looking towards each end of a church. The split-section on the left shows part of the vaults then the nave and gallery levels. The galleries are divided by landings with panelled double doors with console-hood moulding. Pews are shown in the foreground. The nave has an arcade of arches reaching to aisle level and here are balustraded. In the centre is a large panelled double door and above is the organ. Above is the ceiling showing two different heights. Above is a high pitched roof, with truss arrangement, the right side being higher than the left. The shallow truss for the left aisle is shown. Above the roof is half of one side of the tower similar to that seen on SM 54/1/29 The split-section on the right is virtually identical with the exception of: a single-span arch aross the nave and beneath is the communion area and altarpiece with three windows on the rear wall. Above there is part of a latticed Diocletian window on the left and two large square latticed windows on the right.

Scale

bar scale of 22/10 inches to 10 feet

Inscribed

No. 7. Design for a Church proposed to be erected in the Parish of St. Marylebone. / Section looking towards the Organ Gallery / Section looking towards the Communion Table / N.7.

Signed and dated

  • 1822
    Lincoln’s Inn Fields. / 1822.

Medium and dimensions

Pen, wash, coloured washes of cerulean blue, brown, pink, sepia and yellow within a triple-ruled border on wove paper (908 x 623)

Hand

Soane Office, draughtsman

Watermark

SMITH&ALLNUTT / 1818

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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