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You are here: CollectionsOnline  /  [67] Design for the interior of the Holy Trinity Church, Marylebone, London, January 1825


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image SM 54/2/6

Reference number

SM 54/2/6


[67] Design for the interior of the Holy Trinity Church, Marylebone, London, January 1825


Axial section of a nine-bay church. The front porch with Ionic columns and the ninth bay with a door, arch-topped windows and steps, are all in elevation. The section shows the various tiers of the tower with the disengaged columns and the dome and weather vane are included as a flyer and to the right is the nave with iron posts supporting the organ gallery. Box pews extend across the lenghth of the nave and a pulpit is shown at the end of the nave and in the chancel is a column in profile for the altarpiece. The gallery has an arcade of arches supported by Doric columns at nave leve with pews. The windows are square at nave level and arch-topped at gallery level all latticed. Above is a long, low roof


bar scale of 1 inch to 5 feet


7 – No.6. / Section of a Church to be erected in the Eastern Division of the Parish of St. Marylebone. / Organ measurements given

Signed and dated

  • January 1825
    Lincolns Inn Fields. / January. 1825.

Medium and dimensions

Pencil, pen, wash, coloured washes of blue, Payne’s grey, olive green, orange, pink, red and stone, and pricked for transfer on wove paper (735 x 530)


Soane Office, draughtsman




This early 1825 section is notable for the change in tower design. here Soane is positing an earlier, grander tower withcolumns around te first tier supporting their own individual entablature. This would go on to be the finished design for the tower.



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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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