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image SM 54/4/11

Reference number

SM 54/4/11

Purpose

[95] Design for the timbers of Holy Trinity Church, Marylebone, London, 13 January 1826

Aspect

Plan of the arrangement of timbers for the gallery floor. The slats include a couple of thicker beams inserted into the side wall and arranged horizontally, and there are further slats arranged vertically. The horizontal beams are attached by metal clamps to a thicker girder running vertically on the right-hand side. On the right-hand side is a section for the arrangement of the truss to support the gallery floor, with a thick beam at the bottom, with braces attached to it with iron rods, and the King post rising vertically from the centre to meet the braces. The beam at the bottom, and a half beam attached to the King post are connected to the masonry by plates Above is an axial half-section of the eastern end of a church. The left has an external engaged Ionic column in profile. The aisles are divided at nave and gallery level by a landing with the risers for the pews, with doors at each end, and an arch extends over the aisle roof. A large arch with a spandrel spans the nave which shows floor timbers and at gallery level are two arch-topped windows. The shallow roof over the aisles and higher pitched roof of the nave show the timber arrangements: trusses and joists and connecting metal rods

Scale

bar scale of 2 inches to 5 feet

Inscribed

No. 11 / 25 / To be returned / Plan of the Timbers of Gallery Floor. / Oak / See Window at Large. Truss to support timbers of Gallery Floor. / Oak Plate / Oak / Oak / Oak / One Half of Section through the Centre of the Church looking / towards the Communion Table (above the Ground Floor. / York base / Oak Sleeper / 32 York Paving / Brickwork / 6” York Landings / 6” Rubbed Landings / Joists & Floor under Free Seats / Joists & 1 ¼ Deal Floor of Pews - / Lines of Floor of Pews / Steps of Altar / Height of Pewing / Centre Line / Bath Stone / See below / Oak bond 9’ by 5 ¾” / Fir Chain Plate 9’ by 5 ¾” / Oak Bond / Ribs in 2 Thicknesses of 1 ½ Deal / Ribs to be in 2 Thicknesses of 41 ½ Deal. / 1 ½ Dl 2 thicknesses / Bath Stone / D / Q / S / S / P / O / Q / A / n / P / r / S / S / A / d / I / m / b / a / l / d / m / g / C. / f / h / d / g / m / K / Portland Stone / Battering &c (See Specifications) / Lead Flashing. / Bath Stone Ashlering / Portland. / Stone / Scantlings of Timbers of / Centre Roof. / a – Bressumer over Iron Standards. 12” by 9” / b –Raising Plate. 9” by 7” / c¬¬_Tie Beams.12_6 / d _ Principals. (averaging)_6 ½_6 / e_ Oak Kings } 6”_5” / f _ Oak Queens } 6”_4 ½” / } exclusive of / their abutments / g _Struts or Braces _ 5_4 / h_Purlines_ 5_ 3 ½ / i_ Poll plates_ 6_4 / k_Ridge Pieces_. _10_2 / l_ Rafters_5”_2 1/2” / m_Binding Joists, 6 & 5 alternately / in each bay_9_4 / Battering &c for plates / Ironwork for roofs &c. } see specificn. / Scantlings of Timbers of Roofs, / over Galleries, Staircases west, and / Apartments East. / n_Beams_ 9” by 6” / o_ Oak Kings (exclusive of abutments) 6_6 / p _ Principals_ 5_4 ½ / Q_Bridgings under Raking / bearers averaging_7_3 ½ / r._Raking Bearers_6 ½”_3” / s.s._Bridging Joists_ 6_2 ½ / Whole Deal Gutter Boards & / strong framed Bearers- and some measurements given

Signed and dated

  • 13 January 1826
    L.I.F. / 13th Janr 1826._

Medium and dimensions

Pencil, pen, wash, coloured washes of blue, brown, Payne’s grey, orange, pink, stone and yellow on wove paper (752 x 543)

Hand

Probably Mocatta, David Alfred (1806--1882), draughtsman
Soane Office Day Book for 13 January 1826 has Richardson, Burchell, Mocatta and Davis working on copying drawings for Marylebone Church. The letter types such as the C and looped h are more typical of Mocatta’s hand

Watermark

SMITH&ALLNUTT / 1823

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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