[54] Finished drawing for the side of a Gothic version of Holy Trinity Church, Marylebone, London, copied 7 May 1824

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Sir John Soane office drawings: the drawings of Sir John Soane and the office of Sir John Soane
- Churches and chapels
  - London: Holy Trinity Church, Marylebone, designs for construction and interiors, 1820-34 (120)
    - Designs and finished drawings for a Neo-Gothic scheme for Holy Trinity Church, Marylebone, London, May 1824 (4)

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Reference number

SM 54/2/18

Purpose

[54] Finished drawing for the side of a Gothic version of Holy Trinity Church, Marylebone, London, copied 7 May 1824

Aspect

Elevation of the side of a nine-bay church. All the essential details are the same as SM 54/2/17 with the exception of the following: the second and eighth bays are canted bows with smaller pointed arch windows in the sides. These are separated by framing buttresses with bulb finials reaching above the level of the crenellated wall. The clock-face also shows the hour and minute hand

Scale

bar scale of 1 inch to 5 feet

Inscribed

Design for a Church to be erected in the Eastern division of the Parish of St. Marylebone.

Signed and dated

1824
CJR / Lincolns Inn Fields / Copied May 7th- 1824

Medium and dimensions

Pencil, pen, wash, coloured washes of brown, Payne’s grey and orange within a double-ruled border and pricked for transfer on wove paper (745 x 541)

Hand

Richardson, Charles James (1806--1871), draughtsman
Initialed by Richardson and the letter forms conform to his, such as the D and the C and h

Notes

This design is a slight variation in that Soane perceived the tower as being a single tier. He initially see SM 54/2/17 as being single tier too, but a later second tier to the tower is put in pencil, and is in the front elevation (SM 54/2/16). In the Royal Academy Lecture drawing for the same year (SM 15/4/8) and Royal Academy Summer Exhibition watercolour of 1825 (SM P259), both by Joseph Michael Gandy (1771-1843), a second tier is present.

Level

Drawing

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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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