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image SM 54/5/1

Reference number

SM 54/5/1

Purpose

[71] Design for the site of Holy Trinity Church, Marylebone, London, 10 September 1825

Aspect

Plan showing the site of a proposed church which is on a rectangular strip of land framed by streets on three sides, with a cross in the top half of the strip showing the axes on which the church is to stand. The section below, on the line A.B., and the section to the right-hand side on the line C.D. show the nature of the land beneath street level with gravel overlaid by sand, clay and loose rubbish and other elements, with some pencil emendations, possibly a general sketched outline of a plan the church

Scale

bar scale of 2/10 inch to 5 feet

Inscribed

Plan and Sections of the Ground forming the Site of the proposed New Church in / the Eastern Division of the Parish of St. Marylebone. / Section on the line A. B / Gravel / Sand 4’0” / Sand / Loose Rubbish &c / clay / Footpath. / Footpath. / The New Road. / Footpath. / Footpath. / Albany Street. / Footpath / A / Trench / Trench / C / D / Footpath / Osnaburgh. Street. / Footpath. / B Loose Rubbish &c / Sand 4’0” / Sand / Clay / Gravel / Footpath. / Section on the line C. D.

Signed and dated

  • 10 September 1825
    10th Sepr. 1825.

Medium and dimensions

Pencil, pen, wash, coloured washes of brown, green, sand and sepia, on laid paper (409 x 322)

Hand

Probably Bailey, George (1792--1860), draughtsman
Soane Office Day Book for Saturday 10 September 1825 has only Bailey working on drawings for Marylebone Church, and letter types such as the M and looped P fit his hand

Watermark

G C & Co /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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