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image SM 47/5/8

Reference number

SM 47/5/8


[16] Design for the interiors of St John’s, Bethnal Green, London, February 1826


Two transverse sections of the church from vault, nave and side aisles, gallery level, and to roof level, each looking towards one end of the church. The bottom section looks to the west with the altarpiece and rear windows at the end, and the top section to the east end of the church with the main door and organ above, and a pitched roof with the base of the tower adorned with caps with pinecone finials. Each section shows the arrangement of pews and free seats on both levels in the aisles, and in the nave


bar scale of 1 inch to 1 feet


Copy / Bethnal Green Chapel VII./25 / Section through the centre looking West. / The Contract refers to the Design with Vaults. / Ground Line. / See Sections at Large. / Ground Line. / Space for Organ / See Sections at Large. / See Sections at Large. / (signed) John Soane. / Robert Streather. / approved Jany. 1826 / Church Comiss. Seal / Section through the Centre, looking East. / This half of the Drawing shews the method of constructing / the Vaults.- for the Works connected with which separate tenders / are to be made. / Ground Line. / See Sections at Large. / 6” York Landings / Groined Arch. / Ground Line. / See Specification of Carpenters / Work / See Sections at Large. / See Sections at Large. / See Sections at Large.

Signed and dated

  • February 1826
    Lincolns Inn Fields / February 1826.

Medium and dimensions

Pencil, pen, red pen, wash, coloured washes of brown, Cerulean blue, orange, red, sepia and yellow, pricked for transfer, on wove paper (737 x 525)


Possibly Bailey, George (1792--1860), draughtsman
Probably SOANE, Sir John (1754--1837), architect





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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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