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image SM 54/4/24

Reference number

SM 54/4/24

Purpose

[100] Design for pews at Holy Trinity Church, Marylebone, London, copied January 1826

Aspect

Plan showing eight rows of pews interrupted by masonry. Above is an elevation of seven box pews with a column between the second and third. The final pew is in section to show the seating and the book-shelf. To the right at the bottom is a section showing the capping for the pews, in the centre is a front view of a Free Seat with an open back. Above is a Free Seat shown from the side

Scale

bar scale of 1 inch to 5 feet

Inscribed

Copy. / No. 24/25 / To be returned, / Plan and Elevation of Part of the Pews on the Ground Floor / Stone Pilaster / Brick Pier / Stone Pilaster / 1 ¼” Deal framing 2 Panels in height bead flush both sides / Column / 1 ¼ Deal Seat / ¾ inch Bookboard (Wainscot) / 1 ½ inch Bracket / ¾ Inch Wainscot Book Board and Brackets / 2 In Deal / Wainscot / Capping / of Pews } / Full Size / 1 ½ Wainscot / 1 ½ Wainscot / 1 ½ Wainscot / Front Elevation of One of the Free Seats / in the Middle Aisle / Column / 2 inch Deal Pilaster / 1 ¼” deal framing bead and flush H&G flap /1 ½” Deal / Seat 1 ¼ Deal /1 ¼ Deal /1 ½ Wainscot / Elevation of End and measurements given

Signed and dated

  • January 1826
    Lincolns Inn Fields / Jany 1826

Medium and dimensions

Pencil, pen, wash, coloured washes of brown, green, pink, sepia, stone and yellow on wove paper (749 x 541)

Hand

Probably Stephen Burchell (1806 - c.1843), draughtsman
Soane Office Day Books record Burchell and others making copies of drawings for Marylebone Church throughout January 1826. The letter types such as the curled tail of D is consistent with Burchell’s hand

Watermark

SMITH&ALLNUTT / 1823

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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