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image Image 1 for SM 54/3/7
image Image 2 for SM 54/3/7
  • image Image 1 for SM 54/3/7
  • image Image 2 for SM 54/3/7

Reference number

SM 54/3/7

Purpose

[9] Design for the exterior of Holy Trinity Church, Marylebone, London, datable to September 1820

Aspect

Perspective of a five-by-seven bay church within a landscape. Similar in many regards to SM 54/3/5, with the exceptions being: the windows are now round-arched and set within relieving arches, with a panelled bottom, and the articulated screen of Doric columns on the first and seventh bays are flanked by Doric pilasters. The base of the tower is now squared with the front split into three vertical panels. A clock face is in the centre, and is flanked by relief panels, and above these are volute pediments. The pitched attic roof is more visible

Scale

to a scale

Inscribed

Sketch of a design for a New Church in the Parish of St Marylebone

Signed and dated

  • September 1820
    This seems to form part of a series with SM 54/3/1-6, and is likely to have been produced in September 1820

Medium and dimensions

Pen, wash, coloured washes of light blue, brown, green, olive green, Payne’s grey, sepia, stone, and yellow on wove paper (509 x 343)

Hand

Soane Office, draughtsman

Verso

Part of a circle which has a smaller circle within its left-hand side, with measurements in pencil. Perhaps a rough try at a plan for a circular portion of the tower with the arrangement of columns

Notes

As with SM 54/3/6 the attic roof is retained, but if anything, is slightly enlarged, and the tower is possibly the same height, but seems wider.

Literature

Carr, 1976, vol. II pp. 349-350; vol. III, p. 824 fig. 139

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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