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image SM 54/1/25

Reference number

SM 54/1/25


[45] Design for the interior of Holy Trinity Church, Marylebone, London, 1822


Two transverse sections of the interior of a church. The section on the left shows the nave and side aisles looking towards the principal (western entrance). The nave and gallery aisles are divided by a landing and panelled doors with console-hood mouldings are at each end. The nave has an arcade of three arches reaching to gallery level, and a large panelled double door is in the centre. Above is a raised ceiling with a latticed Diocletian window flanked by two square latticed windows. Above is the arrangement of the main trusses in the centre and shallow trusses above the aisles. The section on the right shows the nave and aisle looking towards the eastern altar end, and is similar to that on the left, but in front of the arcade of arches is a balustrade for the communion area, and behind is the bottom part of a large latticed window. At ceiling level the central Diocletian window is larger than on the section to the left


bar scale of 22/10 inches to 10 feet


Design for a Church intended to be erected in the Parish of St. Marylebone. / Section looking towards the Principal Entrance / Section looking towards the Communion Table.

Signed and dated

  • 1822

Medium and dimensions

Pencil, pen, wash, and coloured wash of stone within a septuplet rules border, pricked for transfer on wove paper (928 x 648)


Soane Office, draughtsman




This design does not easily sit with any of the exteriors, as none of the windows have an equivalent. Nonetheless, the section shows these windows as part of a raised clerestory level. This feature is seen in designs from 1820-1822, but is not amongst the designs after this date.



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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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