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You are here: CollectionsOnline  /  [16] Designs for the footings at St Peter’s Church, Walworth, London, May 1823
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image SM 54/8/9

Reference number

SM 54/8/9

Purpose

[16] Designs for the footings at St Peter’s Church, Walworth, London, May 1823

Aspect

Two drawings for the footings of a church. The bottom drawing shows the tapered arrangement of the sleepers, crop sleepers and steps surmounted by the bottom of a pillar. The drawing above repeats this, but the pillar extends upwards to be met by the horizontal segment. Above is the start of a pillar at ground level. To the right-hand side there are five steps showing the entrance level to the church and ground level

Scale

not to scale

Inscribed

9 / Newington Church / floor of Church / present level of Earth / [f?]ooting / P[_ _ ] / Crop Step / Sleeper / Water / Plank / Crop Sleeper / Sleeper / Suppose the Ground to be / raised / 2 foot 8’ above / the present level it will / then require 6 risers 6 / the level of the floor of the / Church at 6 [_ _ _] each (earth?)

Signed and dated

  • May 1823
    datable to May 1823 as it seems to be part of the series with SM 54/8/5 and SM 54/8/7

Medium and dimensions

Pencil and pen (316 x 202)

Hand

The letter was written by William Grail

Watermark

A circular cartouche topped with a crown with two crosses aligned above one another. Inside the cartouche is a single seated figure of Britannia in right profile with a spear against her right shoulder and her out-turned shield on the ground beneath, and she is holding a trefoil plant in her outstretched left hand. The closest, but not identical comparanda, is the watermark of Lloyds & Co datable to around 1805.

Literature

W. Churchill, 1935, 76, no. 235, p. 207 no. 235

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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