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  • image SM 54/3/16
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Reference number

SM 54/3/16

Purpose

[50] Design for the loggia at Holy Trinity Church, Marylebone, London, May 1823

Aspect

Tondo view of the loggia of a church. On the right-hand side, a series of exterior fluted Doric columns hold up the entablature. On the left-hand side are plinths surmounted by lamps, which are flanking a panelled door with a console hood moulding, and with a fanlight above. Through the central axis are a series of tall and narrow fluted arches, and an oculus in the ceiling which reveals arches and a further oculus at the level above. Wide fluted arches at right angles frame the door on the right-hand side, and the top of the steps behind the columns on the left-hand side. At the far end a tall arch is transomed by a recessed panel being supported by pillars. Beyond this arch is the interior side wall of the church with an arched latticed window, and a staircase is cutting across

Scale

to a scale

Inscribed

View of the Interior of the Porch. No. 11. / Design for a Church intended to be erected in the Parish of St. Marylebone.

Signed and dated

  • May 1823
    Lincolns Inn Fields / May. 1823.

Medium and dimensions

Pencil, pen, wash, cerulean blue, brown, green, olive green, Payne’s grey, stone, on wove paper (544 x 475)

Hand

Soane Office, draughtsman

Notes

This loggia contrasts with those seen in 1820 (SM 54/1/22; SM 54/3/14). Firstly, the view is in the opposite direction to the others, and is notable for the loggia consisting of a series of stilted arches with an oculus above and the play of arches along the vertical and horizontal axis, which seems to imitate a series of groin vaults with an oculus at the centre. The 'circular' emphasis is indicated by the use of a tondo view, which is not seen in other drawings for the church.

The fluted nature of the surrounds almost doubles as a substitute for the interior loggia columns seen on the earlier designs. The door now has a fanlight, and lamps on plinths are included in niches flanking the door. In removing columns, but adding the fluting to the imposts of the arches Soane may have been thinking of economy. It is also possible that Soane was still experimenting with various versions of the loggia to see which one fits his overall conception the best.

Nevertheless, the designs for his loggias were not acted upon, as by the the time the building was to be executed, the front columns would be pushed forward to create a porch which negatied the need for any type of loggia.

Literature

Carr vol. II, p. 386; vol. III, p. 853 fig. 194

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.

Browse (via the vertical menu to the left) and search results for Drawings include a mixture of Concise catalogue records – drawn from an outline list of the collection – and fuller records where drawings have been catalogued in more detail (an ongoing process).