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image SM 54/4/30

Reference number

SM 54/4/30

Purpose

[107] Design for a Doric column at Holy Trinity Church, Marylebone, London, January 1826

Aspect

Plan and elevations of a Doric column. The plan on the bottom right-hand side of the sheet shows the interior masonry of the column. Wrapped around it are three annulets, the large circle surrounding these elements is the echinus, and they are set within a square representing the abacus. The elevation detail above shows the top of the column with the necking groove above the shaft, then three annulets, the echinus and across the top the abacus with a smaller cushion plinth. On the left-hand side there is an elevation showing a square base beneath the floor level, and above is the column which is topped by a capital, identical to the detail elevation. Red pen is used for centring

Scale

bar scale of 2 inches to 1 foot

Inscribed

(This drawing to be returned) / Plan and Elevation of one of the Columns that support the Gallery- / Marylebone New Church / York Base / Floor of Church / Plan of the Capital. half the full size. / Elevation of the Capital. half the full size. measurements and some calculations given

Signed and dated

  • January 1826
    Lincolns Inn Fields / January 1826.

Medium and dimensions

Pencil, pen, and pink wash, and pricked for transfer on wove paper (750 x 542)

Hand

Probably Stephen Burchell (1806 - c.1843), draughtsman

Watermark

SMITH&ALLNUTT / 1823

Notes

The columns for the gallery had previously been half-fluted (SM 54/2/9-10), but all the sections and this plan and elevation show the interior Doric columns as unfluted, and this was the final design.

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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