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image SM 54/4/17

Reference number

SM 54/4/17

Purpose

[92] Design for the roof material for Holy Trinity Church, Marylebone, London, 24 January 1826

Aspect

Plan of the roof of a church divided into two halves: the bottom half is uncovered except for the timber supports, and the top half is covered. The outline of the cornice is given at the bottom, immediately above this there is the square plan for the base of a tower. The bottom half shows the arrangement of the timber work with joists and slats arranged vertically and horizontally and is punctuated by large support beams and girders. The top half shows the slate and lead portions of the roof. The higher, central nave roof is clad in slate and has a skylight. The lower, side aisle roof is clad in lead panels. Above is a pencil sketch of an uncertain subject

Scale

bar scale of 1 inch to 1 feet

Inscribed

No 17 /25 / Plan shewing the Timbers of the Roofs, the Lead Flats, &c. / Oak Plate / Oak Plate / Stone / Principals / m / 4 Inch York Landings / Openg. for Skylight / h / Q / c / m / h / m/ h / Bath Stone. / Portland Cornice / 7 balusters / York Corbel / Portland Stone. / Skylight. / Slate. / The Lead flashing to be turned into the stone / Lead flashing / Bath Stone / Lead / Portland Cornice and some measurement and calculations given

Signed and dated

  • 24 January 1826
    24 Janry. 1826.

Medium and dimensions

Pencil, pen, wash, coloured washes of blue, brown, Payne’s grey, orange, pink, stone and yellow, pricked for transfer on wove paper (749 x 545)

Hand

Richardson, Charles James (1806--1871), draughtsman
Soane Office Day Book for 24 January 1826 records both Richardson and Mocatta copying drawings for Marylebone Church. The letter types conform to Richardson's hand

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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