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You are here: CollectionsOnline  /  [38] Finished drawing for the exterior of Holy Trinity Church, Marylebone, London, 15 March 1822

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image Image 1 for SM 54/3/3
image Image 2 for SM 54/3/3
  • image Image 1 for SM 54/3/3
  • image Image 2 for SM 54/3/3

Reference number

SM 54/3/3

Purpose

[38] Finished drawing for the exterior of Holy Trinity Church, Marylebone, London, 15 March 1822

Aspect

Perspective of the front and side of a five-by-nine bay church. The four columned portico has flutedDoric columns. The windows on teh end and side bays are large arch-topped within relieving arches. The second and eighth bays ahve smaller windows articluated by a screen of fluted Doric columns. The roof line has stone caps aligned over the portico, and the base of the tower has recessed panels. The pairs of Corinthian columns support an individual architrave and on top a sarcophagus has been placed. Atop is a cylindrical tier with lancet windows surrounded by a colonnade of Corinthian columns. The dome is smooth and is surmounted by a pinecone finial . The five-bay attic roof shows a front bay with a Diocletian window

Scale

to a scale

Inscribed

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

Signed and dated

  • 15 March 1822
    (Lincoln Inn Fields / 15th March. 1822)

Medium and dimensions

Pen, brown pen, sepia, within a double ruled border on wove paper (429 x 311)

Hand

Probably Soane Office, draughtsman

Verso

Design for an arcade of five arches, with windows and seats above a balustrade. Above are five windows with recessed panels on each side and festoon decoration around the top (see SM 51/1/20, 23, 27, 28). Above is an arch with a dome

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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