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You are here: CollectionsOnline  /  [15] Design for the timber supports for one half of the interior of St John’s, Bethnal Green, London, January 1826


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image SM 47/5/13

Reference number

SM 47/5/13


[15] Design for the timber supports for one half of the interior of St John’s, Bethnal Green, London, January 1826


Transverse half-section of the west of the church from the: footings, vault, nave, gallery and aisles to roof level, showing the timber supports for both aisle pews and an arch for the gallery aisle. There are also the timber supports for the floor of the nave, and the trusses for both the aisle roof and main pitched roof. Above is part of the base and first tier of the tower. The corners of the base and the roof both have a cap with pinecone finial


bar scale of 2 inches to 5 feet


Bethnal Green Chapel XII. / 25 / Section through the centre of the Organ Gallery looking West. / signed. John Soane / Robert Streather / approved / Commis / York. / Ground Line. / Portland / Bath / Oak Templet. / Joist / Brick Pier. / York Stone / Brick Arch / Portland / Lintel whole thickness of wall / Brickwork / Opening for Skylight / Portland. / Brickwork 9” thick. and measurements given

Signed and dated

  • January 1826
    L. I. Fields / Jany. 1826.

Medium and dimensions

Pencil, pen, wash, coloured washes of brown, Cerulean blue, orange, pink, sepia and yellow, on wove paper (735 x 525)


Probably Soane Office, draughtsman
The Soane Office Day Book records in January 1826 Burchell, Davis, Richardson and Mocatta were all working on designs for St John's, Bethnal Green





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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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