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image SM 54/2/11

Reference number

SM 54/2/11

Purpose

[56] Design for the principal front of Holy Trinity Church, Marylebone, London, November 1824

Aspect

Elevation of the principal front of a five-bay church showing a flight of steps leading up to a porch of four Ionic columns, which are supporting a projecting cornice decorated with a frieze of fret. Recessed between the intercolumniations are three panelled double-doors with surrounds, the central door being the largest. Flanking this, on each of the end bays there are transomed windows: round headed above and square at the bottom with panels beneath, all set within a relieving arch. Aligned at vault level are the tops of two square windows. On each side of the church there is a Corinthian pilaster shown in profile. Above the roof line is a balustrade interrupted with five sets of turned balusters, and behind is the wide base for a tower with a cap on each corner. The rectangular portion of the tower has a shuttered louvre at the bottom and a clock face above. The architrave is supported by Corinthian pilasters, and it has pinecone caps. Above is the cylindrical portion of the tower, with a lancet window, and the architrave is supported by engaged Corinthian columns. Above is a dome with antefixes attached around its base, and it is surmounted by a finial

Scale

bar scale of 1 inch to 5 feet

Inscribed

Trinity Church, - St. Marylebone. / Elevation of the West Front, as designed.

Signed and dated

  • November 1824
    Lincolns Inn Fields / November 1824

Medium and dimensions

Pen, wash, coloured washes of brown, olive green, Payne’s grey, sepia and stone, and pricked for transfer on wove paper (714 x 508)

Hand

Soane Office, draughtsman

Watermark

1813

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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